ICLI 2018 logo ICLI 2018 International Conference on Live Inter­faces Porto Portugal

June 14–16 2018

Registration is now open!

Every creative process starts from a given seminal idea, lying somewhere between abstract thinking and engagement with material objects: let’s call it the inspiration. The moment when ideas flow into and out of place, slowly building to become a cohesive whole. What are the problems we deal with in the early prototyping of interfaces for live performance? What technologies do we use and how do we choose them? How do these technologies inform and catalyse the creative process? How do we unlock their unique expressive potential?

Inevitably, the time for the highly anticipated first performance arrives. What strategies do we use to combine the live interfaces within the performance? How do we cope with the technical difficulties of integrating various technologies? What is the unique aesthetic potential of each of these technologies? How do they transfigure the performance reception from the audience’s perspective?

Eventually, each live interface has to find its own path towards an emancipation from its first performative use. How do we repurpose live interfaces? How do we maintain the underlying technologies so that we can reuse or repurpose them? How do we build a repertoire for their use? How do we document and notate their technical and artistic aspects for future use?

These and other questions will be debated in ICLI 2018. Welcome to Porto!

Keynote: Andrew McPherson

Andrew McPherson in the studio Andrew McPherson is a Reader (Associate Professor) in the Centre for Digital Music at Queen Mary University of London. A composer (PhD U.Penn 2009) and electronic engineer (MEng MIT 2005) by training, his research focuses on digital musical instruments, especially those which extend the capabilities of traditional musical instruments. Within the Centre for Digital Music, he leads the Augmented Instruments Laboratory, a research team investigating musical interface design, performer-instrument interaction and embedded hardware systems. He currently holds an EPSRC fellowship on the topic of designing interfaces which build on the existing expertise of trained performers.

Notable recent projects include the magnetic resonator piano, an electromagnetically-augmented acoustic grand piano which has been used by over 20 composers and performed worldwide; TouchKeys, a sensor overlay which transforms the electronic keyboard into a multi-touch control surface; and Bela, an open-source embedded hardware platform for ultra-low-latency audio and sensor processing. TouchKeys and Bela both successfully launched on Kickstarter (2013 and 2016) and are now available to the public.

Keynote: Patrícia Portela

Patrícia Portela by Afonso Cruz Patrícia Portela is a writer and performance maker born in 1974, living between Belgium and Portugal. She studied set and costume design in Lisbon and in Utrecht, film in Ebeltoft, Denmark, and Philosophy in Leuven, Belgium. Since 2003 she has worked on her own performances and installations in collaboration with international artists. She has achieved national and international recognition for her unusual work and is considered one of the most daring artists and innovative writers of her generation. She won the Revelation Prize in 1994 for her creative work in performance and cinema, the Prize Teatro na Década for T5 in 1999, the Gulbenkian Foundation Prize Madalena de Azeredo Perdigão for the performance Flatland I in 2004 and a special mention for Wasteband in 2003, and she was one of the 5 finalists of the Sonae Media Art Prize 2015 with her installation Parasomnia, amongst other prizes. She has been invited to participate in the prestigious International Writing Program (IWP) at the University of Iowa in 2013, and was the first literary resident in Berlin in 2016. She is the author of several novels (Banquet was a finalist of the Novel and Novella Big APE Prize 2012) and short stories.

She is a founder member of the Prado cultural association since 2003 and an editor at the collective editions Prado since 2008. She writes chronicles for Jornal de Letras and Coffeepaste.com.

Image by Afonso Cruz.

Venue

The ICLI 2018 program will be mostly hosted at Casa da Música with the doctoral symposium taking place at the Faculty of Fine Arts.

Topics

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

Important dates

Submission categories

Paper: 5 to 8 pages conference paper, following the formatting in the template (.docx or .odt). Revision of papers will be double-blind. Please make sure that the PDF file is completely anonymised (i.e. omits author-related information in body of text or as explicit self-citations, notes and bibliography). Accepted papers will be published in the conference proceedings and allotted 15 minutes presentation time at the conference.

Performance: 2 to 4 pages description paper, following the formatting in the template (.docx or .odt). Revision of proposals will be single-blind. Proposals should provide an abstract of the performance (up to 600 words), a short biography of each collaborator (up to 150 words), a detailed description of the work, one or more URLs for access to relevant media assets, and a technical rider (layout, setup, required equipment). Performances will be allotted a maximum of 30 minutes on stage in one of the performance sessions. Final versions for publication should provide solely an abstract of the performance (up to 600 words) and a short biography of each collaborator (up to 150 words). Download the tech rider.

Poster/Demo: 3 to 6 pages conference paper, following the formatting in the template (.docx or .odt). Revision of papers will be double-blind. Please make sure that the PDF file is completely anonymized (i.e. omits author-related information in body of text or as explicit self-citations, notes and bibliography). Accepted papers will be published in the conference proceedings and space will be provided for posters and tables for demoing work.

Doctoral symposium: 2 pages research paper, following the formatting in the template (.docx or .odt). The title of your submission should start with “DS:”, e.g. “DS: Parametrisation in Visual Art”, and the submission should be made in the “Paper” category. Revision of proposals will be single-blind. A revised version will be requested for inclusion in the proceedings after the symposium.

Doctoral Symposium

The ICLI 2018 Doctoral Symposium will provide students the opportunity to present their research and receive feedback on their work in progress from established researchers and from other participants. The symposium aims to foster the discussion of research topics and approaches, and to promote interaction between the research community.

To apply as a student participating in the Doctoral Symposium you should provide a single document including a research paper and a letter of support by your advisor.

The research paper should include: 1) Purpose of the research and its importance to the field; 2) Brief survey of background and related work; 3) Description of the proposed approach; 4) Expected contributions; 5) Progress towards goals.

The letter of support should provide an assessment of the current status of the research and mention areas that could benefit from feedback from other experienced researchers.

Additional information and submission details

Registration

Access the registration form here.

Student registrations require a valid student ID. Unaffiliated registrations are for independent artists and researchers and will not carry an affiliation in the publication. Each paper, performance or poster needs to be tied to at least one registration.

Scientific committee

Organising committee

Steering committee

Porto

Porto is the second-largest city in Portugal located along the Douro river estuary in the North Coast. Porto is a cosmopolitan city, an eclectic mix of all things ancient and modern. In 2017 Porto was considered the best European destination by the site “European Best Destinations”. This was the third time that the city received this distinction after having also been voted the best European destination in 2012 and 2014. A UNESCO World Heritage site teeming with medieval townhouses, gothic palaces and baroque churches adorned with exquisitely hand crafted “Azulejos” tiles. It also boasts some of Europe’s most talked about contemporary architecture — including the Rem Koolhaas designed Casa da Música, and the many architectural triumphs of award-winning Porto-natives Eduardo Souto de Moura and Álvaro Siza, such as the Serralves Museum of Contemporary Art.

At Porto you can’t miss the Casa da Música, the Historical Centre and the Ribeira Square, the Lello Bookshop, the Café Majestic, the Port Wine Cellars and the Monastery of Nossa Senhora do Pilar, the Guindais Funicular, Miguel Bombarda Street, Galeria de Paris Street, Cândido dos Reis Street, Serralves House, and Museum of Modern Art, the São Bento Train station, the Cathedral, the Clérigos Tower. And, of course, the contagious joy of the popular festivities, the excellent gastronomy and the wine.

Porto's International Airport is located 11 km away from the city centre. There is Bus Shuttle access to the city, as well as taxi and public transports, such as bus and Light-Rail. In Porto you can find from international hotel chains to small typical Portuguese wine related houses, manor houses, trendy and alternative places to stay, or the well known beautiful Pousadas de Portugal. In either one, you can find somewhere to rest, to work and to witness the Portuguese life.

Credits: Porto and Northern Portugal Official Tourism Board | Porto Convention & Visitors Bureau

Contacts

icli2018@lists.inesctec.pt @Liveinterfaces facebook.com/liveinterfaces