Call for papers: EvoMus Workshop in Vienna, Austria


Call deadline: October 23, 2013 (23:59 CET)

We welcome contributions (15-20 minutes including questions) describing original research on the evolutionary origins of music (see workshop description below for details). Experimental and empirical contributions are particularly encouraged. Short abstracts (.doc files following the standard Evolang format) of max. 1 page (including references) should be sent to with “Evolang Workshop Submission” as subject. Confirmation of submission will be given.

Submission deadline: October, 23rd 2013 (23:59 CET)
Notification of acceptance: November, 17th 2013

The purpose of this workshop is to (i) provide a common platform for researchers from a range of fields (syntax, phonology, typology, biomusicology, ethnomusicology, neuroscience, etc) to compare results and methodologies, (ii) discuss and integrate findings from different disciplines within the evolutionary and cognitive frameworks, (iii) develop critical hypotheses whose empirical testing can shed light on issues at the frontier between the evolution of language and music.
EvoMus: The evolution of music and language in a comparative perspective
This workshop will hence compare recent findings on language and music along three lines of inquiry: evolutionary, cognitive and methodological.

  1. The evolutionary approach: What is the relationship between the origins of language and music? Can findings in one discipline inform the other? Which experiments are crucial to reject or accept hypotheses of common origins? Are the common origin (a musilanguage split into language and music) and branching (music originated by scission from language or vice-versa) hypotheses tenable at all?
  2. The cognitive approach: To what extent do language and music processing overlap in the brain and mind? How can experimental studies inform us about shared neural resources? In particular, do structural similarities in language and music map to shared processing mechanisms?
  3. The methodological approach: Current research on language evolution makes, among others, broad use of agent-based modeling, iterated learning experiments and comparative research in non-human animals. How are similar techniques used to investigate the evolution of music? What kind of models and computer simulations could be “imported” from language to music research (and vice versa) successfully and meaningfully?

For further description, see the workshop description!

Andrea Ravignani
Department of Cognitive Biology, University of Vienna
Althanstrasse 14. 1090 Vienna, Austria

Call for papers: EvoLang 10 in Vienna, Austria


Call deadline: September 13, 2013

The 10th International Conference on the Evolution of Language will be held on 14th-17th April 2014 in Vienna at the Department of English of Vienna University.

The 10th International Conference on the Evolution of Language (Vienna, April 14th-17th, 2014) invites substantive contributions relating to the evolution of human language. Submissions may be in any relevant discipline, including, but not limited to, anthropology, archeology, artificial life, biology, cognitive science, genetics, linguistics, modeling, paleontology, physiology, primatology, and psychology. Normal standards of academic excellence apply.

Submitted papers should aim to make clear their own substantive claim, relating this to relevant scientific literature, and briefly setting out the method by which the claim is substantiated, the nature of the relevant data, and/or the core of the theoretical argument concerned. Submissions may be theory-based, but empirical studies should not rest on preliminary results.

Submissions can be made (by Sept. 13th, 2013) both for podium presentations (20 minutes plus 10 minutes for discussion) and for poster presentations. They are limited to one first-authored podium presentation and one first-authored poster per person. There is no limit on second authored submissions. – When submitting, please indicate whether your submission is to be considered for inclusion as a talk, as a poster, or as either of the two.

For both podium and poster presentations, there are two possible types of submission: (a) Full papers, which can have a length of between 6 and 8 pages, and (b) Abstracts, which can be up to 2 pages long.

All accepted submissions will be published in a bound proceedings volume to appear before the start of the conference.

For detailed instructions on how to submit a paper or poster go to the submission section.

For further information, please visit the official homepage:

Call for papers: Methods in Biolinguistics Workshop


Call deadline: March 1, 2013

Methods in Biolinguistics Workshop
at the LSA Summer Institute
Ann Arbor, MI – July 12, 2013

In conjunction with the LSA Special Interest Group on Biolinguistics, we invite the submission of abstracts for a workshop on methodology in biolinguistics, to be held on July 12, 2013 at the LSA Summer Institute at the University of Michigan.

The goal of biolinguistics is to explore theories of language that are biologically plausible as part of an effort to explain how the faculty of language arises both ontogenetically (over the course of an individual’s lifetime) and phylogenetically (on an evolutionary timescale). The LSA Special Interest Group on Biolinguistics, founded in 2009, seeks to explore these questions as well as to help the field of biolinguistics define itself by, as stated in the SIG description, “helping to identify what makes biolinguistics ‘bio’ (and ‘linguistic’), initiate discussions on how it differs from previous models of generative grammar (and how it doesn’t), debate whether generative grammar is actually a prerequisite […] and so on.”

In this workshop, we will foster dialogue on biolinguistic methodology. This topic emerged as a topic of interest and concern during the roundtable discussion at the end of the Workshop on Biolinguistics Organized Session at the LSA Annual Meeting in Portland, January 2012. Specifically, we aim with this workshop to field presentations about how biolinguists (both practicing and aspiring ones) can contribute to interdisciplinary dialogue and be informed consumers of data and literature from fields such as genetics, archaeology, and evolutionary biology. We will also feature morning and afternoon roundtable discussions with the speakers.

Invited speakers:
Noam Chomsky, MIT (T.B.C.)
Norbert Hornstein, University of Maryland

Abstracts for 30-minute oral presentations should be anonymous and between 200-500 words. Please, no more than one single-authored and one joint-authored abstract per person.

Abstracts are due March 1, 2013.
Please send abstracts, preferably in .PDF format, to both:
Kleanthes Grohmann –
Bridget Samuels –

Call for papers: SysMus13

Call deadline: April 15, 2013

Sixth International Conference of Students of Systematic Musicology (SysMus13)

CasaPaganini-InfoMus Research Center (DIBRIS-University of Genoa, Italy) is pleased to host the Sixth International Students’ Conference of Systematic Musicology (SysMus13), this coming September 12th-14th, 2013. Organized by graduate students, the SysMus conference series allows young researchers in the field of systematic musicology at the master’s and doctoral levels to present their work in the form of papers, poster sessions and online publications. SysMus13 also provides participants with the opportunity to enjoy keynotes given by internationally renowned specialists and to meet colleagues from around the world. The program will also include a workshop on multimodal recording of music performance using the EyesWeb open software platform. A special session is planned to be organized with a renowned composer, whose music might be performed in a concert.

Graduate students are encouraged to submit an abstract (max. 500 words) for either a spoken paper or a poster presentation by April 15, 2013. Papers should be twenty minutes in length followed by a question period of ten minutes. Poster presentations will offer the possibility to discuss one’s research in greater depth. The SysMus13 conference language is English.
Abstracts will be evaluated by an international review committee consisting of doctoral and post-doctoral students representing an array of subfields of systematic musicology. The committee will announce its decisions based on double-blind peer review by June 15, 2013.

Abstracts should be submitted to the address openconf site and should comply to the .word template available at this link.

For any further information please contact:

Call for Papers: Progress in Motor Control IX


Call deadline: February 14, 2013

The IXth Progress in Motor Control meeting will be held in Montreal, Canada from July 14-16, 2013. The meeting features Motor Control researchers from around the world with some of the leading names expected to attend.

The three-day meeting brings together experts in diverse areas of Motor Control including the performing arts, such as dance, circus arts and music. There will be two scientific plenary sessions per day addressing the following areas:

*   Cortical and spinal mechanisms of motor control
*   Variability and redundancy in motor control
*   Equilibrium-point control and perception-action coupling
*   Motor control of speech and language
*   Motor control and recovery from injury
*   Motor control and the performing arts

The confirmed speakers include

Micheal Brainard
Paul Cisek
Julie Cote
Joe Cusumano
Brain Day
Anatol G Feldman
Tamar Flash
Scott Grafton
Frank Guenther
C J Heckman
Mark Latash
Charles Larson
Mindy Levin
Richard Nichols
David Ostry
John Rothwell
John Scholz
Douglas Schiller
Paula Silva
Dagmar Sternad
Michael Turvey
Robert  Zatorre

The conference website is

Check us out on facebook at

Call for papers: SEMPRE Conference: Music and Empathy


Call deadline: August 16, 2013

Event date: November 9, 2013
At the University of Hull, Hull, UK

This one-day SEMPRE conference hosted by the University of Hull will include invited presentations, a specialist workshop and selected submissions from researchers on the theme of music and empathy. In recent years there has been a growing interest in empathy in the fields of music psychology and education. Research in music and empathy now spans a variety of contexts, including education and development, emotion, expressiveness, and performance. This conference seeks to draw together current research from a range of areas, and to encourage and stimulate discussion on research in music and empathy.

Contributions are welcome from researchers at all levels and are particularly encouraged from postgraduate students. Submissions should show how the topic relates to the conference theme. Accepted submissions will be broadly organised into themes, and presentations will be chaired by leading researchers. Please send abstracts for spoken papers (max. 200 words) by email to Caroline Waddington (contact details below) by Friday 16 August 2013.

For further information, please contact:
Caroline Waddington
Department of Drama and Music
University of Hull
Hull, HU6 7RX

Call for papers: FotFS VIII: History and Philosophy of Infinity


Call deadline: May 31, 2013

Foundations of the Formal Sciences VIII
FotFS VIII: History and Philosophy of Infinity

20-23 September 2013
Corpus Christi College
Cambridge, England

Haim Gaifman (Columbia University, U.S.A.) Marcus Giaquinto (University College London, England) Catherine Goldstein (Institut de Mathematiques de Jussieu, France) Christian Greiffenhagen (University of Nottingham, England) Luca Incurvati (University of Cambridge, England) Matthew Inglis (Loughborough University, England) Charles Parsons (Harvard University, U.S.A.) Michael Potter (University of Cambridge, England) Christian Tapp (Ruhr-Universität Bochum, Germany) Pessia Tsamir (Tel Aviv University, Israel) Dina Tirosh (Tel Aviv University, Israel) Jean Paul Van Bendeghem (Vrije Universiteit Brussel, Belgium)

The concept of infinity has fascinated philosophers and mathematicians for many
centuries: e.g., the distinction between the potential and actual infinite appears in Aristotle’s Physics (in his treatment of the paradoxes of Zeno) and the notion was implied in the attempts to sharpen the method of approximation (starting as early as Archimedes and running through the middle ages and into the nineteenth century). Modern mathematics opened the doors to the wealth of the realm of the infinities by means of the set-theoretic foundations of mathematics.

Any philosophical interaction with concepts of infinite must have at least two
aspects: first, an inclusive examination of the various branches and applications, across the various periods; but second, it must proceed in the critical light of mathematical results, including results from meta-mathematics.

The conference History & Philosophy of Infinity will emphasize philosophical, empirical and historical approaches. In the following, we give brief descriptions of these approaches with a number of questions that we consider relevant for the conference:

1. In the philosophical approach, we shall link questions about the
concept of infinity to other parts of the philosophical discourse, such
as ontology and epistemology and other important aspects of philosophy
of mathematics. Which types of infinity exist? What does it mean to
make such a statement? How do we reason about infinite entities? How do
the mathematical developments shed light on the philosophical issues
and how do the philosophical issues influence the mathematical

2. Various empirical sciences deal with the way we as finite human beings
access mathematical objects or concepts. Research from mathematics
education, sociology of mathematics and cognitive science is highly
relevant here. How do we represent infinite objects by finite means?
How are infinite objects represented in the human mind? How much is our
interaction with infinite concepts formed by the research community?
How do we teach the manipulation of infinite objects or processes?

3. Infinity was an important concept in philosophy and theology from the
ancient Greeks through the middle ages into the modern period. How did
the concepts of infinity evolve? How did questions get sharpened and
certain aspects got distinguished in the philosophical debate? Did
important aspects get lost along the way?

Scientific Committee. Brendan Larvor (Hatfield, U.K.), Benedikt Loewe (chair; Amsterdam, The Netherlands & Hamburg, Germany), Peter Koellner (Cambridge MA, U.S.A.), Dirk Schlimm (Montreal, Canada).

FotFS VIII is sponsored by the ESF network INFTY: New frontiers of infinity.

Call for papers: SMPC 2013


Call deadline:  February 1, 2013

The biennial meeting of the Society for Music Perception and Cognition will be held at Ryerson University in Toronto, Canada, on August 8-11, 2013.

Abstracts for presentations should be no longer than 300 words and should describe the motivation, methodology, results, and implications to the degree that this information is available at the time of submission.  Empirical contributions should refer to the stimuli/corpus, methodology, and data collected.  Theoretical contributions are also welcome, provided that the connection to music perception and cognition is underscored through discussion of aims, methods, and/or results. Abstracts for proposed symposia are welcome and should include individual abstracts as well as a brief description of the theme.

Submission details and additional conference information are available on the conference website:

Call for papers: 1st International Conference on Computation, Communication, Aesthetics and X


Call deadline: December 31, 2012

Dates: 27-28 June 2013
Location: University of Bergamo, Bergamo Città Alta, Italy
Deadline for submissions: 31 December 2012

The development of computational tools and media has been radically transforming the landscape for the practice of design, the arts and numerous cultural manifestations. Recognizing this, xCoAx is designed as a multi-disciplinary and nomadic enquiry on arts, computers, computation, communication and the elusive x factor that connects them all.

xCoAx is a forum for the exchange of ideas and the discovery of new and profitable synergies. It is an event exploring the frontiers of digital arts with the participation of a diverse confluence of computer scientists, media practitioners and theoreticians, that will focus on the relations between what can and cannot be computed, what can and cannot be communicated, what is beautiful and how humans and computational systems intersect in the development of new directions in aesthetics.

You are invited to submit theoretical, practical or experimental research work that includes but is not limited to the following topics:

  • Computation
  • Communication
  • Aesthetics
  • X
  • Algorithms / Systems / Models
  • Artificial Aesthetics
  • Audiovisuals / Multimodality
  • Creativity
  • Design
  • Interaction
  • Games
  • Generative Art / Design
  • History
  • Mechatronics / Physical Computing
  • Music / Sound Art
  • Philosophy of Art / of Computation
  • Technology / Ethics / Epistemology
  • Theory

Important dates
submissions open: September 2012
submission deadline: 31 December 2012
notifications: February 2013
early registration until: 15 March 2013
delivery of final versions until: 1 April 2013
conference: 27-28 June 2013

Additional information and submission details

  • All works must be submitted via EasyChair
  • Submissions of papers and artworks must present original material and will be rigorously reviewed in a process that will assess originality, relevance, aesthetic and technical achievements
  • The reviewing will be double-blind; please omit all information about the authors in the submissions
  • Papers may be 4 to 10 pages long, following the xCoAx template
  • Artworks and demos should be accompanied by a two-page short-paper formatted using the same template and by valid URL for access to relevant media assets
  • Submissions should be presented as .doc or .pdf files with all the media files embedded or linked to online resources. Final versions for publication should be delivered in .doc with all the images and other media files attached as independent files
  • All images and media assets must be cleared for publication by the paper’s authors
  • At least one of the authors of each selected contribution must register to the conference before the early registration deadline in order for their work to be published in the proceedings
  • xCoAx’s working language is English
  • Please contact the program chairs at with any questions regarding submissions.

Organizing committee
André Rangel, CITAR / Portuguese Catholic University
Jason Reizner, Bauhaus-Universität Weimar
Mario Verdicchio, University of Bergamo (Conference Chair)
Miguel Carvalhais, ID+ / University of Porto
Pedro Tudela, i2ADS, School of Fine Arts, University of Porto


twitter: @xcoaxorg

Call for papers: ACM Creativity and Cognition 2013


Call deadline: December 17, 2012

The University of Technology, Sydney will host the International Conference on Creativity and Cognition from the 17th to the 20th of June 2013. The organising committee would like to invite you to join us in Sydney for another conference in this very successful series.

For 2013 the conference theme will be `Intersections and Interactions’, due to the inter-disciplinarity that is inherent in the study of creativity and cognition. June 2013 will be an exciting time for Sydney, as the International Symposium on Electronic Art (ISEA 2013) will run from the 7th to 16th, as well as the Vivid Festival of Arts from the 24th of May until the 10th of June.


Creativity is sometimes thought of as being a human cognitive capacity to solve problems.  Creativity is sometimes thought of as a process that occurs in the intersections between individuals, domains and fields. Creativity is sometimes viewed as a characteristic of an artifact, such as an artwork, or of a concept, such as a new scientific theory, that is both novel and valuable.
The Creativity and Cognition Conference Series aims to be a common meeting ground where individuals can interact with others from different domains and fields to explore and share a variety of information, observations, insights and ideas about the human capacity to creatively solve problems and produce novel and valuable artifacts in their context and culture.
As a single track conference the Creativity and Cognition conference series establishes a forum where people can “rub minds” with and hear about the work of others from a variety of domains and perspectives as they report and describe their engagement with that most complex of intersections–creativity and cognition.
To this end, Creativity and Cognition 2013 seeks papers, posters and demonstrations from individuals and teams of people working in any of a variety of domains who seek to improve our understanding of this multifaceted domain that engages the interest and attention of people from so many different fields.

General topics may include, but are not limited to:
The study of creativity in an individual, in a group or a team, or in a particular cultural context.

  • Discussions of ways to foster creativity though the design, development and/or deployment of pedagogy, of technology support tools for creative work, or of environments and systems of support for creativity.  Of particular interest is work on creative technology support tools that involves collaborations between artists and technologists.
  • Research reports on empirical assessment of various aspects of creativity and cognition that seek to deal with evaluation metrics, measures, and constraints using methodological approaches such as case studies, experimentation, modeling, or simulation.
  • Explorations of new or only partially explored intersections in creativity such as personal creativity in everyday life, the role of emotion in creativity, brain event scanning and recording, and any novel design and evaluation ideas that may one day be valuable to the Creativity and Cognition community.
  • Also of particular interest are papers, posters and demonstrations that describe artworks/performance works, etc. and that explore and reflect on the nature of creativity, the act of creation, and/or artistic expression.

All submissions are to be anonymised, and presented in ACM format and templates can be found on the Submission page of the conference website.

Papers and posters are to be submitted by 17 Dec 2012 through the easychair paper submission system. Papers are to be a maximum of 10 pages, while poster submissions are to be a maximum of 4 pages in length.

Demonstrations are also invited, with a maximum of 2 pages in length, and will be due on the 1st of March 2013.

We are calling for proposals for artworks, music, performances and installations to be presented in conjunction with the conference.

We are seeking a wide variety of artworks related to (but not limited to) the conference theme of `intersections and interactions’. The exhibition of these works will be juried and presentation of works will be integrated into the conference program, in either a concert format, art exhibition or co-located installation, depending on available resources and locations.
Formal proposals should be 2 pages in ACM format (see ‘Submission’), and should include the elements listed below. The 2-page text of these submissions will be published in the conference proceedings, but appendices (eg. staging diagrams, scores, large photos) should be included as extra pages in the same pdf, and these extra pages need not follow ACM format. For the proceedings the extra pages will not be published, only the formal 2-page submission will be published. Accepted submissions will need to be revised based on reviews and according to guidelines for camera-ready publication to be sent upon notification of acceptance.

Submit 2-page PDF proposal in ACM Format addressing the above following:

  • Title of work
  • Clearly state the proposed performance
  • Name(s) of participants/submitters
  • Short biography of artists/composers/performers/designers
  • 150-200 word summary/abstract of work, designed for inclusion in a program.
  • Provide any recordings or documentation of previous performances, or scores of the work (if they exist).
  • List the number of performers and instrumentation (if necessary)
  • List equipment (if any) to be provided by the conference organisers. Note that equipment availability is limited and significant unusual technical requirements may restrict the possibility of acceptance of the work unless detailed plans are provided.
  • Provide any documentation of previous presentations of this work.
  • Describe the space needed and the adaptability of the work. Information regarding available spaces will be posted on the website as it becomes available.
  • List equipment (if any) to be provided by the conference organisers. Note that equipment availability is limited and significant unusual technical requirements may restrict the possibility of acceptance of the work unless detailed plans are provided.
  • Locations that may be used for installations will be published on the conference website shortly.

Submission will be by the easychair submission system (please visit the CC13 website). If there are a large number of attachments then please submit as a zipped folder with your surname, followed by the submission title as the folder name. If your files are larger than 100mb, please provide a link to the files on a storage service in your submission notes (eg. Dropbox etc.), rather than submitting huge files.

We also invite WORKSHOP PROPOSALS to be presented on the day preceding the full conference (17th June 2013):
Workshops offer an informal environment for attendees with common interests and diverse perspectives to engage in rich discussions around works in progress or new areas of research and practice. Workshops can relate to, but are not limited to, the topics of the conference (see the Call for Participation for an overview), and are a good opportunity to explore a specialised interest or interdisciplinary topic with greater time for in depth discourse, debate and collaboration. Admission to workshops and tutorials will be charged separately from the main conference.

Submit 500-1,000 word PDF proposal addressing the following:

  • Clearly state the title, topic.
  • The anticipated audience and expected number of participants.
  • Proposed channels for promoting and marketing your workshop/proposal.
  • Name(s) of proposer(s)/submitter(s).
  • Indicate venue requirements and especially note any hardware/software requirements (computer lab, tools, workshop, software applications). Please indicate if there are any safety implications (eg. soldering) that may need health and safety compliance.
  • If you require any technical or specialist equipment, indicate clearly if you will be supplying/bringing it yourself or whether other arrangements need to be made.
  • Specify whether you would like a half-day or full-day time-slot
  • Include 1 paragraph bio & affiliation for each workshop organiser(s) and 2-paragraph background relating to proposed topic.  Please use the SIG CHI Extended Abstract format:

Also note:

  • Workshop proposers should engage in the promotion of their event amongst own networks and on mailing lists. The workshop will also be publicised on the conference website.
  • We will give preference to workshops that focus on community building and communal knowledge creation rather than structured miniature paper presentation sessions
  • Workshop proposer(s) are responsible for organising the publication of any workshop proceedings if desired.
  • Workshops may be cancelled or combined if there is insufficient participation

The deadline for submission of workshop proposals is January the 12th, 2013. Notifications will be sent by the 1st of February.

Proposals should be submitted to the Workshops Chair through the easychair system, see the website for details.