The theme of this year’s Kyma International Sound Symposium (KISS2013) is INTER faces: the sometimes mysterious point of contact linking two or more entities.

About the theme

A kiss: an osculation, a point of connection between two faces.

Les Amants


But in René Magritte‘s Les Amants the faces appear to be encapsulated; access is restricted. The internal representation of each face is hidden, and interaction can take place only through its “interface” to the outside world. Internally, the man may be from Mars and the woman from Venus, but in Magritte’s painting, they communicate through surfaces that form a boundary between them: an interface.


According to the Free Online Dictionaryin·ter·face is a noun meaning:

1. A surface forming a common boundary between adjacent regions, bodies, substances, or phases.

2. A point at which independent systems or diverse groups interact

3. Computer Science

a. The point of interaction or communication between a computer and any other entity, such as a printer or human operator.

b. The layout of an application’s graphic or textual controls in conjunction with the way the application responds to user activity

INTER = among, between

FACE = look, appearance, from facere, ‘to make’



Call for proposals

We invite proposals on any aspect of this theme, including (but not limited to):

• The musical instrument in the 21st century: how to define an instrument when everything is reconfigurable

Physical interfaces and controllers

Interfaces between low-level and high-level control

• Audio and the interface to virtual environments

3-d audio for games and film

Tracking-interfaces for audio

Audio to enhance an immersive environment (game, film, installation, etc)

• Music as the interface between composer/musician and audience

• Gestures as the interface between conductor and improvising musicians

• Visual, aural, gestural cues as interface between humans (and algorithms)

• Sound as the interface (for example, ecosystemic compositions, using an audio signal as a controller, etc)

• Sound system (DA converters, speakers, amplifiers, headphones) and venue (acoustic, social space, virtual space) as the interface between digitally generated audio and the audience

• Sensors, sensor networks, and the interfaces between them and other devices

• Transducers (analog interfaces)

• Feedback, interfaces, and latency

• Computer-human interfaces

• Brain-computer interfaces

• Wearable interfaces

• The human face as interface

• Quorum sensing and group interfaces

• Gestural interfaces

• Tactile interfaces

• Visual interfaces

• Tracking (camera & other sensor) interfaces

• Universal interfaces (language agnostic computer human interfaces and device-to-device interfaces)

• Graphic User Interfaces for sound and music

• Computer-to-computer interfaces & communications protocols, such as Open Sound Control or MIDI

• Interfaces between software applications (and interfaces between components in a single application)

• Interface metaphors

• Interfaces as translators

• Interface as communication

• Scientific sonification (as an alternative channel to scientific visualization), sound as an interface between data and human interpreters/observers

• Maps from one domain (such as data) to another (such as audio signals)

 …and more!




Presentation types

  • Live Stage Performance (15′ or shorter): Live performance that includes Kyma synthesis or processing and is relevant to the INTER faces theme.  Performances could include live music, dance, live audio ecosystems, live presentation of a scene or excerpt from a play featuring interactive sound design, a standup comedy act, in short, any performance for an audience that involves live interactive sound, Kyma, and some kind(s) of interface(s).
  • Live Cinema Performance (15′ or shorter): Live Kyma-generated sound for picture, short film or excerpt from a film, silent film, video, game cinematic, etc., and prominently featuring the use of live performance interface(s).
  • Magritte-inspired Live Performance (15′ or shorter): Live performance that includes Kyma synthesis or processing and was inspired by one or more works by René Magritte.  These could be live stage or live cinema performances.  Please include link(s) to the Magritte work(s) that inspired your work.
  • Paper Presentation (30′): A presentation or tutorial describing and demonstrating one of your Kyma projects, techniques, theories, ideas, etc, especially those projects that address interface theory, practice, problems, solutions, dreams for the future, etc.
  • Workshop (30′ or 60′): An interactive group project that includes the interaction of fellow Kyma practitioners, especially one that features the use of interfaces.  For example: a performance ensemble employing various interfaces; a design project revolving around various interfaces; a friendly sound design contest requiring live control interfaces; etc.
  • Poster or Demonstration (60′): A live demonstration of a Kyma project in poster session format; there will be several parallel demos presented in a large room equipped with several Kyma systems; and participants will circulate freely among the presenters, trying out the demos and asking questions)
  • Public lecture on the theme (60′): A talk on the broader issues of the theme that could be of interest to a wider public audience (as well as the audience of fellow Kyma practitioners)



Selection process

Proposals will be reviewed by an anonymous selection committee on the basis of relevance to the Kyma International Sound Symposium, the proposal’s connection to this year’s theme(s), artistic/scientific merit, and feasibility of effective presentation given the resources and venues that are available this year.

Priority consideration will be given to projects related to the theme that feature prominent use of the Kyma sound design language and the lively interactive aspects of sound.

Due to the linear scheduling of the symposium (we have no parallel sessions), it is not possible to present sound installations in a way that would allow adequate time for the audience to experience the installation. However, proposals that involve live, realtime audience and venue interaction in a concert hall would be very welcome.

Although no funds are available to reimburse travel, lodging, performer salaries or materials, we are pleased to be able to offer a discounted conference fee to presenters and performers whose work is accepted for the conference.

How to submit a proposal

Prior to the 29 April 2013 deadline, please complete the on-line submission form where you can describe your proposal and any technical resources it may require.  We recommend that you first take a look at the full submission form off-line (sample form), so you have an opportunity to gather any information you might need prior to submitting your proposal on-line.

Please note that only the proposals submitted via the on-line submission form can be considered by the selection committee; please send any questions to the full committee by sending email to the program committee (rather than contacting individual committee members).  That way, we can be certain that all technical details are reviewed by the full committee and preserved for the technical team who will be running the conference, thanks!

Review and notification

You will be contacted on or before 27 May 2013 to discuss whether it will be possible to include your proposal in this year’s program.  During the selection process, the committee may contact you with questions on technical requirements.

Questions? Please send email to the program committee.

Thank you for submitting your proposals! We are really looking forward to reading them!



Deadline for proposals 29 April 2013
Notification 27 May 2013
KISS2013 12-15 September 2013