PROJECTING MEMORIES

There is no future action without memory defining its possibilities. This is a general feature of signs. For instance, musical notation is at the same time the memory of a compositional work and the possible condition for its implementation. A similar meaning, which emphasises the temporal duality of the term “memory”, also applies to the relationship with the past. Its preservation, so complex for the multimedia technologies of the last fifty years, is the possibility of a relaunch forward, that is, preservation and at the same time a new challenge. But this twofold nature of memory is increasingly evident in the case of neural networks: a neural network is a memory trained from pre-existing data to perform a task. The explosion of big data is then the availability of large memories that are exploited performatively. And a digital memory is uniform by its nature: whether it is sound, video, words, or a microscope view, it is still sequences of bits that can be easily reinterpreted when projected into cross-media operations.

The XXIV Colloquium of Musical Informatics aims to focus attention on the theme of memory as a fragile possibility for the future:

• as preservation, recovery, and valorisation of technologies and artistic operations
• as a social and psychological dimension in sound and music perception
• as experimentation in cross-modal and cross-media contexts
• as a technological perspective in the use of available memories for synthesis, processing and study within the context of sound and music computing.

As usual, the program of the Colloquium includes scientific and artistic communications, educational activities, and music productions. Scientific communications will be selected through a call for papers, and musical works through a call for works.

To encourage the widest possible involvement of the scientific and artistic community, participation in the Colloquium will be, as usual, free of charge for both authors and attendees.

“Aldo Piccialli” award

The best contribution to the scientific program, independently of the presentation format and by decision of the Board of the AIMI, will be awarded the prize in memory of Aldo Piccialli.

“Teresa Rampazzi” award

The best contribution to the musical program, independently of the presentation format and by decision of the Board of the AIMI, will be awarded the prize in memory of Teresa Rampazzi.

Both awards are a symbolic recognition of the originality and innovative contribution brought to Italian research on musical informatics.

Important dates

• Opening of the EasyChair portal for submissions: February 20, 2024
• Submission deadline for musical works: April 15, 2024
• Submission deadline for scientific communications: April 30, 2024
• Notification to authors: June 15, 2024
• Final version for scientific communications: July 15, 2024

Committees

General chairs:

• Stefano Bassanese, Conservatorio di Torino
• Andrea Valle, Università di Torino

Scientific chairs:

• Davide Andrea Mauro, KreativInstitut.OWL, Paderborn University
• Simone Spagnol, Università Iuav di Venezia
• Andrea Valle, Università di Torino

Music chairs:

• Carlo Barbagallo, Conservatorio di Torino
• Stefano Bassanese, Conservatorio di Torino
• Francesco Bianchi, Conservatorio di Torino

Program committee:

• Andrea Agostini, Conservatorio di Torino
• Giacomo Albert, Università di Torino
• Stefano Bassanese, Conservatorio di Torino
• Leonardo Gabrielli, Università Politecnica delle Marche
• Daniele Ghisi, Conservatorio di Torino
• Francesco Giomi, Tempo Reale
• Luca Guidarini, Ensemble Collettivo 21
• Davide Andrea Mauro, KreativInstitut.OWL, Paderborn University
• Domenico Sciajno, Conservatorio di Torino
• Simone Spagnol, Università Iuav di Venezia
• Anna Terzaroli, Conservatorio di Benevento
• Luca Turchet, Università di Trento
• Andrea Valle, Università di Torino
• Paolo Zavagna, Conservatorio di Venezia