Research Hands on FLUTE

Research Hands on FLUTE

Research ‘Hands on’ FLUTE is a meeting dedicated to the area of the flute, and is unique due to its symbiosis between two types of meetings: the convention, of an artistic nature which concentrates on a particular instrument (such as the British Flute Society Convention 2016, for example) and the traditional academic research conference, but focusing on an instrumental area. ‘Hands on’ Flute aims to bridge the gap between artistic production and academic research, creating opportunities to combine the artists’ and the researchers’ knowledge, for mutual benefit. This first meeting will take place at the University of Aveiro from April 10th to 13th, 2017.


Call for Proposals

The University of Aveiro, INET-md (Institute of Ethnomusicology, Centre for Studies in Music and Dance) and the Associação Portuguesa de Flautas, will host the research meeting Research ‘Hands on’ FLUTE, in Aveiro, Portugal, from the 10th to the 13th of April, 2017.

This research meeting aims to bring artistic production and academic research closer together, creating opportunities to combine the artists’ and the researchers’ knowledge, which will have benefits for all. The invited keynotes speakers and performers, who have already confirmed, are: Sophie Cherrier; Paolo Taballione; Mario Caroli; Sibel Pensel; Berten Dhollander; Monica Finco; Christine Erlander Beard; Michele Gori; Stefano Parrino; Francesco Parrino; Qi Wang; Marco Gaudino; Luca Bellini (as soon as new names are confirmed they will be added to this list).

This first edition in 2017 focuses on the vast instrumental area of the flute – historical and modern performance practices, repertoire, pedagogy, aesthetics, ethnomusicology, history, analysis, organology and interpretation. Proposals that centre on performance practices as research are particularly welcome. Lecture-recitals are the most natural format for these proposals.

The conference organisers accept submissions in Portuguese and Spanish, although English is preferable. Proposals that focus on the above aspects are particularly encouraged, although other proposals may also be accepted, once they lie within the general theme of the meeting. Proposals that focus on any research area relating to flute performance will also be considered.

Proposals should be submitted via the platform Easy Chair, formatted according to the nature of the proposal (in order to fulfil the form, the applicants should first create an Easy Chair account):

  • Lecture Recitals: The abstract should include information regarding the duration of the presentation, which may be between 30 and 45 minutes, and a short artistic CV of the presenter(s). These submissions may also include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. The proposer must also specify any technical requirements or materials necessary for the recital.
  • Papers: Communications will be of a 20 minute duration. The abstract should contain a maximum of 350 words.
  • Recitals: Recitals will have a maximum duration of 30 minutes. You must send a recording/demo, which will be evaluated by the Artistic and Scientific Commission. Please include a short artistic CV of the performer(s). These submissions must include a link to a Youtube video of the proposed performance (you may choose to upload your video as ‘unlisted’, ‘private viewing’ or ‘public viewing’). The link must be included in the field ‘other documents’ on the platform. You must also specify any technical requirements or materials necessary for the recital.
  • Panels: In addition to the abstract and/or media, please send details regarding the panel participants, including their institutional affiliations, and the themes of each individual presentation. The total duration of the panel, including debate, should not exceed 90 minutes.
  • Presentation of Projects: The organising committee does not stipulate any particular model for these abstracts, but recommends that the proposals include information regarding the context, objectives, methods and results.
  • Demonstration of pedagogical approaches: These demonstrations should be of a 20 minute duration. Abstracts must not exceed 350 words.
  • Workshops: Please send a description and the duration of your proposed workshop.
  • Performative Installations: Abstracts should not exceed 350 words. Please use the field ‘other documents’ on the Easy Chair platform to upload your technical/material requirements. The installations could be made available during the four days of the meeting.

Should you have any queries (registration, travel, accommodation), please do not hesitate to contact us at

Important Deadlines

The deadline for proposal submission is February 15th, 2017.

The acceptance of proposals, following a process of evaluation by the scientific and artistic commission, will be communicated no later than February 28th, 2017, with proposals from outside Europe being notified as quickly as possible.

The selected authors will be invited to submit an article or recording to the book of conference proceedings (with audio-visual support). All articles and recordings must be submitted by April 30th, 2017.



Associação Portuguesa de Flautas (APF)

Departamento de Comunicação e Arte

Instituto de Etnomusicologia Centro de Estudos em Música e Dança (INET-md)
Universidade de Aveiro


Álvaro Sousa

Language, Music, and Computing

Second International Workshop on Language, Music, and Computing

Aims of the workshop: to encourage interdisciplinary communication and collaboration of linguists, musicians and IT-specialists in the sphere of some actual problems, among which are the following:
1. Language and music acquisition; influence of music skills on language acquisition and language processing; influence of linguistic skills on music acquisition; relationship between music and language training.
2. Linguistic and music knowledge, their structure and functioning; explicit and implicit knowledge of music and language; similarities and differences in understanding of music and language.
3. Automatic classification of linguistic and music knowledge; formal models of linguistic and music knowledge; musical information retrieval vs. linguistic information retrieval.

This year special topics of the workshop are:
– Formal representation of language and music: differences and similarities
– Sound corpora in music and linguistics

Keynote speakers:
Sabine Iatridou, USA
Sergi Jordà, Spain
Merryl Goldberg, USA
Elena Riekhakainen, Russia

Languages of the conference:
Russian & English (some sessions will be simultaneously translated)

Submission process:

Abstracts from different fields are warmly invited. Presentations will last 20 minutes, followed by a ten minute discussion. Abstracts should be submitted before November 27, 2016. Notification of acceptance follows on January 20, 2017. Abstracts should be 450-500 words long (without any subheadings) and clearly present a research question/aim, critical review of the literature, methodology, results and conclusions. Abstracts should be submitted as a pdf. If you wish to include any specific symbols (such as phonetic transcription), please submit your paper both in DOC and PDF format. We have the intention to select papers for a peer-reviewed special issue.
Please send each abstract both in anonymized and unanonymized forms (with author(s) and affiliation) to the following address:

Registration fee (includes program, coffee-breaks, post-conference publication, visa support (if needed)):
Early-bird fee (before March 15, 2017) – 2500 rubles, or 45 euros; students – 1000 rubles, or 20 euros;
regular fee (after March 15, 2017) – 3000 rubles, or 55 euros; students – 1500 rubles, or 35 euros.

Important dates:

Submission deadline: November 27, 2016
Notification of acceptance: January 20, 2017
Registration starts: February 1, 2017
Early-bird registration ends: March 15, 2017
Workshop: April 17-19, 2017
Final papers: June 1, 2017
Results of the revision process: July 25, 2017
Publication – Fall 2017

International Conference of Young Musicologists. Young Musicology Today: tendencies, challenges and perspectives

The aim of the conference is to integrate the musicological community through the creation of an international forum for exchanging ideas and research experiences. We encourage young musicologists to present results from ongoing studies and to engage in discussion on the future of musicology, its role and place in the contemporary culture. Currently, musicology, which is not only the study of music, is starting to perform social functions, becoming not only a field of scientific inquiry but one of use to society. During the conference, we would like to consider new avenues of research, new methodologies of musicologists’ work, and the challenges and career prospects faced by musicologists entering the labour market. It will also be an opportunity to consider the subject areas of interest to young musicology.

Subject areas for consideration include

  • New research perspectives in musicology
  • Music versus other arts
  • Music in the public space (sonosphere research)
  • Music in society (music and ideologies)
  • Music and the sacred
  • Music and science (e.g. psychology of music)
  • Challenges of modern ethnomusicology
  • The state and the form of contemporary music criticism
  • Source studies and music editing
  • Music librarianship – issues and challenges
  • Performance practice
  • Theory of music
  • Music and pop culture
  • Opera nowadays

The conference will incorporate both traditional lectures and panel discussions, during which groups of researchers conducting a joint project or studying similar subjects will be able to present the results of their studies or discuss a specific subject. We encourage the participants to organise their own panel sessions during the conference (due to time constraints, we suggest no more than four papers during one session; please indicate the person leading the session during registration).

In addition, the conference programme includes:

  • “A musicologist on the labour market” panel

This will be an opportunity for an in-depth discussion of the current employment situation of musicology graduates in Poland and abroad, and for the presentation of experiences in this area. We encourage participation in this panel session by musicologists – musical life animators, employees of media and cultural and educational associations and institutions etc.

  • Masters’ lectures (plenary speakers)
  • The conference programme includes additional events, such as concerts, sightseeing in Krakow, and exhibitions.

A publication of the collected papers presented at the conference is also planned.

Conference language: English.


  • Accepting applications with abstracts – until 31th of May 2016.
  • Information about accepted papers – by 30 June 2016.
  • Conference dates: 7-9 November 2016.

Applications should be made by sending the application form via email to:  and

You can find an application form here.

For any further information please feel free to contact: Agnieszka Lakner;

Conference fee

Conference fee: 200,00 PLN / 50 €

The fee includes:

Admission to the conference, conference program, publication of the paper in the conference proceedings, lunches and coffee breaks during sessions and conference attractions such as sightseeing and concerts. Registration fee does not include accommodation and transportation. If you wish, Organizers will help you to book an accommodation.


Jagiellonian University in Kraków, Department of Musicology

Address: Westerplatte Street 10; 31-033 Kraków, Poland



ISSTA International Festival and Conference on Sound in the Arts, Science and Technology

ISSTA International Festival and Conference on Sound in the Arts, Science and Technology: Temporary Autonomous Zones

Sept 7th–9th 2016 (Derry/Londonderry, Northern Ireland)

Ulster University and partner venues

Call for Papers, Compositions, Artworks and Workshops: Deadline: April 4th


Professor Leigh Landy (De Montfort University, Editor of Organised Sound)
Dr Liz Dobson (Yorkshire Womens’ Sound Network, University of Huddersfield)

Headline Workshop:
Gregory Taylor (Education R&D, Cycling 74 software: makers of Max)

Installations, Artworks, Concerts, Papers, Panels, Workshops


One of the reasons we value sound as a perceptual and phenomenological event is that it allows for the creation of new types of sensory engagement with space. Creative processes of sounding allow us to design different types of sound worlds; places which can become autonomous zones. Lefebvre, in his seminal text The Production of Space, alludes to the concept of autonomous zones or imagined spaces; places which are imagined and created by community.

The idea of how we create and respond to autonomous zones is the subject of this year’s ISSTA festival as it comes to Northern Ireland for the first time, fostering a range of artistic, technological and academic interventions in Derry/Londonderry entitled Temporary Autonomous Zones 2016. A Temporary Autonomous Zone (TAZ), as defined by the poet and anarchist cultural theorist Hakim Bey, is more than just a distinct space; it is a space in control of itself in that it does not recognise outside authority.

We look forward to inviting artists, scholars, technologists and other practitioners to Derry/Londonderry to investigate and play with some of these questions. From the historic autonomous zones of the 17th–century walled city of Londonderry to the autonomous commune of Free Derry (1969–72) to the highs, lows and contradictions of becoming the first UK City of Culture and even to its contested name and identity, we hope that Derry/Londonderry will offer a stimulating context for sharing participants’ work and ideas.

We are seeking works of art, research papers, performances, compositions and workshops that engage with the concept of autonomous zones and the social spaces of sound and technology.


Acoustic Ecology
Circuit Bending
Computational Musicology
Computer Music
Digital Audio and Digital Signal Processing
DJ Practice
Electroacoustic Music
History of Sound, Science and Technology
Interfaces for Music or Sound
Laptop Music
Live Electronics
Live Sound Reinforcement
Music Perception
Music Recording and Production
Music/Audio software
Noise Music
Recording Engineering
Sound Art and Media Art with a Sonic Focus
Soundscape Art/Studies
Sound Diffusion and Spatialization
Sound Engineering
Sound Synthesis and Design
Sound, Science and Technology Education/Pedagogy

To submit:  1-page abstract (approx.. 500 words) including whether paper or poster submission.

Interactive Sound Art
Site-specific Sound Art
Sound Art Installation

Circuit Bending
Computer Music
DJ/Scratch Music
Electroacoustic Composition – fixed-medium or real-time
Laptop Performance
Mixed Composition for electronics and performers
Noise Music
The call is open to all practitioners regardless of nationality. Participants are responsible for their own travel and accommodation. Registration for ISSTC 2016 is required for participation.

Registration fees are as follows (current ISSTA members pay only the registration fee):
Professional: €70 (€40 registration + €30 ISSTA membership)
Postgraduate student: €50 (€30 registration + €20 ISSTA membership)
Undergraduate student or unwaged: €25 (€15 registration + €10 ISSTA membership)

Submissions are due April 4th, 2016. Notifications will be sent by June 4th, 2016.

Full call details here:

Irish Sound, Science and Technology Association
Ulster University: School of Creative Arts, Research Graduate School (Arts) and the Arts and Humanities Research Institute
FabLab NI and the Nerve Centre (Derry/Londonderry)
Outreach workshops supported by the Garfield Weston Foundation
The Spatial Music Collective

Sound – Traces – Moves. Soundtraces in Motion

Gesellschaft für Tanzforschung · GTF Annual Conference 2016 · Call for papers

Sound – Traces – Moves. Soundtraces in Motion

November 18–20, 2016 · Orff-Institute of the University Mozarteum/Salzburg

The term TRACES has been positioned very intentionally between the two central artistic means of expression SOUNDS and MOVES, as interface so to speak, since sounds as well as bodily movements can both be regarded as traces due to their volatility in space and time. They can enter into a dialog with other artistic traces (of movement), such as the grand brushstroke of a painter, the fine drawings of a graphic artist or the light projections of a digital installation, in order to access further dimensions of space and time for the hearing and seeing of movement dynamics. Against this backdrop, an (in the best sense) endlessly creative process gathers momentum, in which audible and/or visible movement traces are permanently recreated, without ever getting clearly defined contours nor even taking a definite shape.

What kinds of artistic options are possible due to such interactions between sound- and movement traces, either in the form of a performance or an event? And what kinds of challenges result from this for the spectators/listeners – particularly if these interactions primarily unfold within the area of the non-verbal, beyond the obvious allocations of meaning or outstanding narrative threads? This conference will discuss perspectives based on (rehearsal) processes and production aesthetics as well as questions relating to the perception of the interplay of analogue/digital, instrumental/ vocal and musical or noise-like sounds with virtual or real body movements in choreographies, improvisations and dance performances: The objective is to ‘trace’ audio-visual movement traces and the resulting network of sensory impressions.

Deadline for proposals for lectures, workshops, poster presentations, lecture demonstrations, performances and labs (please give the preferred format) is May 1.

Please send the respective proposal with a maximum of 250 words and a short biography of 100 words at most to Stephanie Schroedter:

You will be informed about the programme selection by June 1, 2016 at the latest.
For more information look at:

(Per)Forming Art: Performance as Research in Contemporary Artworks

20 Sep 15

University of Leeds

The acts of composing and performing are central processes to the formation of a musical work. Performance is a medium through which music is formed. It is a significant part of a work’s compositional process and, as such, forms a symbiotic relationship with the act of composing. An iterative cycle between performance and composition comes about when the composer performs their own work and/or composes through performance. Performance in this manner can be seen as a form of practice-based research that can guide the compositional process.

This RMA conference focuses on performance as a type of compositional technique and as a mode of practice-based research for the act of composing a work. Primarily engaging with music of the twentieth and twenty-first centuries, ‘(Per)Forming Art’ invites proposals for a series of lecture-recitals by composers to demonstrate their research through performance. Such disciplines include, but are not limited to, acoustic composition, electronic composition, composing with improvisation, live coding. Presenters and delegates will have the opportunity to meet other researchers, performers, and composers as well as learn about a variety of approaches, techniques, and processes relevant to the formation of an artwork.

Proposals are invited for forty-minute lecture-recital slots (thirty minutes for presenting and performing followed by ten minutes for questions and answers). Composers may perform their own works or invite performers to accompany them (performers will not be provided by the conference).

Possible topics include, but are not limited to:

  • Performance as practice-based research of compositional techniques in general
  • Performance as an actual technique for composing music
  • How performing other works can inform the compositional process of one’s own work and/or how one engages with performance as a compositional technique
  • How engaging with other performers performing other works can inform the compositional process of one’s own artwork.
  • Live coding and its influence on compositional practice
  • Improvisation and its influence on compositional practice
  • Performance as a unifying medium between separate artistic disciplines within interdisciplinary artworks
  • Performance as a technique for composing a work vs performing a ‘finished’ composed work

Presenters will also be asked to perform in the conference concert on the evening of the conference. The artwork(s) they perform should be related to (if not the same as) their lecture-recital topic. Proposed lecture-recitals should be emailed as abstracts (of up to 500 words, and with titles) to the (Per)Forming Art Symposium ( no later than Monday 6th July, 2015.

Lecture-recital proposals should include the following details: name, institutional affiliation (if any), email address, any special requests such as AV requirements.

Further information can be found here.

Musical Identity And Cultural Crossroad

The  International Musicological Conference, April 17-19  2015.

Location: V. Sarajishvili State Conservatoire, Tbilisi, Georgia

Call for papers:

The conference aims to discuss the varied problems of multiculturalism, to portray the national identity in a globalization era.

TSC invites researchers to submit proposals within the following fields: Music history, Music theory, Ethnomusicology. The official languages of the conference are Georgian and English. Papers selected at the conference will be published by Tbilisi State Conservatoire.



Online registration. Closing date for registration: January 5th, 2015



Deadline for abstract (no more than 500 words) and biography (no more than 300 words) – January 12th,2015.

The committee will make its final decision on the abstracts by the end of January, 2015  and contributors will be informed immediately thereafter.

Deadline for papers (no more than 3000 words) – February 10th, 2015. Papers are limited to twenty minutes in length, allowing time for questions and discussion.

All materials should be sent to send e-mail:

The program of the conference also includes workshops, concert and cultural program.


For any additional information, please contact:


Phones: +995 322 98 71 88


facebook: Science Research Department




Electroacoustic Music Beyond Concert Performance


10 – 14 June 2014 | Berlin | Germany

Deadline for proposals is 3 January 2014.

The concert work is still considered to be the epitome of electroacoustic music. During a work’s performance the relationships between composition and audience in time and space are defined as homogeneous  – just as in the Aristotelian drama. However, since the 1960s, specific forms of electroacoustic music that challenge the possibility (or conception) of an absolute and exclusive reception have gained substantially in importance. This development resulted in concert forms of extended duration, as well as sound art and music in the media offering the listener opportunities to arrange the perceived sounds in new individual arrangements or to explore the aural space of one piece in various ways. The aesthetical positions and the practical consequences for electroacoustic music that have emerged from these specific environments shall be considered at EMS14 conference.

This EMS conference aims to discuss a number of relevant questions concerning electroacoustic music beyond concert performance among musicologists, composers and sound artists. Musicological studies in this field still lack consistent, rigorous research. Therefore, we explicitly invite papers that focus on aesthetics, history, analysis and practical issues of electroacoustic music of Extended Duration, as Sound Art/Sound Installation, as Media Music, as Conceptual Music, as Participatory Music, in the context of Happenings or extended Concert Forms.

The conference is also open to other topics relevant to histories and/or contemporary practices of electroacoustic music. Submission of papers relating to any aspect of the field would be appreciated as well, including, but not limited, to: analysis, perception, listening, terminology, composition, performance, cultural issues and education

(cf. detailed call at

The conference is hosted by Universität der Künste Berlin, Masterstudiengang Sound Studies in cooperation with Technische Universität Berlin, Fachgebiet Audiokommunikation and Freie Universität Berlin.


The deadline for receipt of proposals of papers is Friday, 3 January 2014 midnight EST. The duration of a paper presentation should be 20 minutes followed by a question period of 5 minutes. Conference languages are English and French.

Submissions can be made by uploading a zipped folder and providing the download link, or by direct email[at]

A submission should consist of one pdf-document and the same as word-, odt-, or rtf-document in English with the following parts:
1. the paper abstract in English (500 up to 1,000 words), headed with author name(s) and title (if any), organisation affiliation (if any), contact address, telephone, email address
2. a curriculum vitae (1 page maximum)
3. a list of publications (1 page maximum)
4. a brief bio (up to150 words).

Further information available at and

Organisation Committee: Fabian Czolbe (Berlin) | Dr. Julia H. Schröder (FU Berlin) |    Volker Straebel (TU Berlin) | Prof. Dr. Martin Supper (UdK Berlin)

EMS13: Electroacoustic Music in the Context of Interactive approaches and network

EMS13: Electroacoustic Music in the Context of Interactive approaches and network

Lisbon, Portugal, 17-21 June 2013

The first interactive systems for sound synthesis control were developed at the end of the 1960s, adding new tools and possibilities to the practice(s) of electroacoustic music. Since then, real-time interactive technologies, techniques and practices have led to the emergence of new electroacoustic music approaches, within both composition and performance. Currently, technological solutions for sound interactivity are ubiquitous and inexpensive, making them easy for musicians to access. After almost half a century, changes in electroacoustic music practices justify being studied, not only from the technical and technological point of view, but also from the musicological one.

This EMS conference offers an opportunity for musicologists, composers and sound artists to discuss a number of relevant questions concerning interactivity in music. The main objective of the conference is to focus on the subject of electroacoustic music in the context of interactive approaches and networks, including the study of perspectives, not only by composers and performers, but also from listeners. We thus aim to extend musicological approaches to the question of how interactive networks of electroacoustic music might facilitate the intersection between music and other art forms.

This conference aims to promote and discuss ideas and tendencies characteristic of current practices. Technological developments mean that ways of composing, performing and listening are undergoing significant changes in a short space of time. Sharing information in musicological, analytical, psycho-acoustical and other related areas is an important and timely task. It is our hope that the theme of the conference will stimulate debate amongst the electroacoustic music community.

Musicological studies on interactive electroacoustic music still lack consistent research and systematization. In this sense, we are seeking more specifically for papers that intend to generate more general debate concerning music and interactivity. We are specifically, but not exclusively, looking for papers addressing the following topics:

– Which musicological points of view can be brought to bear on recent aesthetic and technical transformations?

– From the musicological point of view, in what measure do interactive approaches to electroacoustic music become a new artistic challenge for performers and composers? And what is ‘live’ electronic music?

– From the point of view of the musicologist, how can we explain the new relationship between compositional practices and techniques developed according to interactive network systems possibilities?

– Even though only 50 years have passed since the development of the first interactive systems, a vast repertory already exists, how can we organize and integrate this repertory in the context of recent music history?

– How can interactive real-time performance/composition strategies be analysed? And which analytical approaches should be applied to interactive electroacoustic music?

– How important are interface-related questions in the process of composing within interactive approaches?

It is our wish that this conference will encourage the growth of musicological studies dealing with the theme Electroacoustic Music in the Context of Interactive Approaches and Networks – not only for musicologists but for all electroacoustic music communities, including composers and performers.

Papers should address specific topics in the call. While some references to works by the presenting author(s) may be cited, proposals focused on the presenting author’s/authors’ own work will not be accepted.


The conference is also open to other topics relevant to the history and/or contemporary practice of electroacoustic music. We encourage the submission of papers relating to any aspect of the field, including but not limited to analysis, perception, listening, terminology, composition, performance, cultural issues and education.

Electroacoustic music and global issues:
– How can the practitioner of electroacoustic music interact with the scientific and technical community in order to face the global issues of our changing world?

– What types of discourse are relevant to electroacoustic works?
– Which analytical methods are currently being developed?
– Can one adapt existent analytical methods of music to electroacoustic works, many of which involve no prescriptive notation?
– How can we further develop the field of study of electroacoustic musics?

Transcription and representation of sound, new audio-visual tools:
– How are analytical tools being produced and disseminated in the community?
– Which means are available for communicating this sonic art form through symbolic and graphic representations?
– Does the study of electroacoustic musics require specifically designed tools or can it take advantage of methods conceived for other musics?

Taxonomy, terminology – ‘meaningful’ units of music description:
– Which systems of classification are in use or should be developed?
– How can we become more consistent in our use of terminology in a field as dynamic as electroacoustic music?

Performance, presentation, dissemination:
– What is the ‘work’?
– New presentation spaces, technologies.
– Aesthetical and musical issues raised by Internet communities, group compositions, telematics and performances.

Listening, Intention-Reception:
– Issues of perception and interpretation.
– How do the composer’s intentions relate to what is perceived?

Semiotics/semiology, ‘meaning’:
– What (and how) do different electroacoustic music genres express?

Soundscape, sound ecology:
– Analytical tools for the understanding of soundscapes.
– New approaches to sound ecology, sonification, sound environment.

Genres/styles, ‘languages’:
– Questions of unity, diversity, plurality, multicultural resources, polystyle, hybridisation, ‘local music

Gender issues:
– Have gender balances shifted since the early days?
– The relationship between technology/electroacoustic music and gender.

Research on history of electroacoustic music:
– Research on historical documentation.
– Studies on the genesis, development and activities of private and public studios.
– How can and should we revise history?

Guidelines for Submission decorative dots

The deadline for receipt of proposals of papers is Monday, January 27, 2013 midnight EST. Notification of acceptance will be emailed to applicants until mid-March.

The duration of a paper presentation should be 20 minutes followed by a question period of 5 minutes. Standard presentation equipment will be provided including a video projector, CD/DVD player, and stereo sound system.

Papers can be given in English or French.

Paper Submissions decorative dots

Submissions can be made by uploading a zipped folder and providing the download link, or by direct email to 2013ems[at] .

A submission should consist of a zipped folder containing:
– The paper abstract in English or French (minimum 1,000 – maximum 1,500 words), headed with author name(s), organization affiliation (if any), contact address, telephone, and email address in PDF;
– A curriculum vitae (2 pages maximum) in PDF;
– A list of publications (2 pages maximum) in PDF;
– A brief bio (150 words) in PDF.

The abstract should be ready for publication if the paper is accepted. A program containing the paper abstracts will be made available on the EMS website and distributed at the conference.

Submissions from students and early-career postdoctoral researchers are particularly encouraged.