GUIDELINES
All accepted works will be presented in person during the panel sessions (more information about the presentation format will be announced soon). Each paper submission must include at least one (co-)author holding a doctoral degree. The review process will follow a single-blind model (authors are not anonymous; reviewers remain anonymous to authors). Accepted submissions will be published in the conference proceedings, assigned a DOI, and deposited on the Zenodo platform.
The call for papers accepts submissions in the following categories:
[1] Short Papers: Present research focused on partial or final results and methodologies.
[2] Experience Reports: Describe practical experiences and challenges encountered in projects, highlighting lessons learned and real-world impacts.
[3] Essays: Discuss theoretical themes, prioritizing new ideas and allowing flexibility in conceptual approaches.
FORMATTING REQUIREMENTS
- Length: maximum 1,500 words
- Margins: 2 cm (0.79 inches)
- Page size: A4 (21 × 29.7 cm or 8.27 × 11.69 in)
- Font: Times New Roman 12 pt
- Line spacing: 1.5
- Accepted languages: Portuguese, Spanish, or English
- Template: https://docs.google.com/document/d/1Ng5AAa3r4OoEymhdRRAcnV-v_IkA7JZZ/edit?usp=sharing&ouid=116091662183403619642&rtpof=true&sd=true
TOPICS
Submissions must explicitly articulate artistic creation processes and technology. Papers of an exclusively technical, instrumental, or purely descriptive nature—such as system, software, or methodology descriptions without aesthetic, critical, or creative reflection—will not be accepted.
Topics of interest include, but are not limited to:
Music Education and Research
- Technologies in music curricula
- Technologies and teaching–learning paradigms
- Artistic research and music technology: experience reports, strategies, portfolios
- Musical analysis: perspectives, tools, and methodologies
Technology, Criticism, and Social Reflection
- Sound studies and sound ecology
- Impacts of technology on musical thinking and languages
- Social and political implications of music technologies
- Copyright and creative ethics in the digital age
- Sound art, acoustic ecology, soundscapes
- Preservation and challenges of digital sound heritage
- General topics on aesthetics, history, and criticism related to computer music, sound synthesis, and electronic arts
Identity and Inclusion
- Technology and racism
- Women and femininity in music technologies
- Technology in gender and decolonial debates
- LGBTQIA+ representation in music and technology
- Technology, Latin America, and Indigenous peoples
Disruptive Innovations and Musical Practices
- Gambioluteria, aesthetics of precarity, bricolage, failure, hacking
- Creative mindsets in transmedia contexts
- Technology as aesthetic in contemporary electroacoustic music
- Algorithmic or generative art/music
- Computer-Aided Composition (CAC), AI applied to creative processes and musical practices
- Creation with analog technologies
- Improvisation, collaborative performance, and technologies
- Live electronics, laptop orchestra, live coding
- Acousmatic music, spatial and immersive audio
- Developments in interfaces, systems, and programming languages (Arduino, Max RNBO, PlugData, Robotics, Pure Data, Ableton Live, Max, SuperCollider, Csound, ChucK, etc.)
- Instrument building
- Open-source hardware and software
Spaces and Collectivity
- Technologies, collectivity, democratization, interactivity, and accessibility
- New venues for concert music: museums, social media, bars, churches, etc.
- Performative installations, immersive environments, and extended realities
- Audience participation and event-based practices
- Interactive and multimedia installations
- Multimedia: video, dance, theater, games, web audio
- Telematic and networked performance
History and Philosophy
- History and philosophy of music technologies
- Technologies and the politics of listening
- Aesthetics and epistemology of musical creation
- Questions of technique and cultural processes
- Historical and conceptual studies of acousmatic music, tape music, and fixed media
- Preservation and obsolescence in electronic music