Welcome!

After seven years outside of the United States, Linux Audio Conference (LAC) is coming back to Stanford University on March 23-26, 2019 for its 17th edition! LAC is the international conference about Free/Open-Source Software for music, sound, and other media with GNU/Linux as the main platform.

Stanford's Main Quad

The call for participation is now open and paper submissions can be submitted here.


LAC-19 Program

Papers Demos & Posters Workshops Installations Concerts Others
Saturday, March 23 — Scientific Track
Time What Who Where
8:30 AM Conference Registration Dinkelspiel Lobby
9:00 AM - 9:30 AM Opening Ceremony Dinkelspiel Auditorium
Paper Session I (Chair: Yann Orlarey)
09:30 AM - 10:00 AM Creating a Sonified Spacecraft Game using HappyBrackets and Stellarium Angelo Fraietta, and Ollie Bown Dinkelspiel Auditorium
10:00 AM - 10:30 AM Browser-Based Sonification Chris Chafe Dinkelspiel Auditorium
10:30 AM - 11:00 AM Sequoia: A Library for Generative Musical Sequencers Chris Chronopoulos Dinkelspiel Auditorium
11:00 AM - 11:30 AM Coffee Break
Paper Session II (Chair: Chris Chafe)
11:30 AM - 12:00 PM A JACK Sound Server Backend to Synchronize to an IEEE1722 AVTP Mediaclock Stream Christoph Kuhr, and Alexander Carôt Dinkelspiel Auditorium
12:00 PM - 12:30 PM Tpf-tools - a Multi-Instance JackTrip Clone Roman Haefeli, Johannes Schütt, and Patrick Müller Dinkelspiel Auditorium
12:30 PM - 01:00 PM A Cross-Platform Development Toolchain for JIT-compilation in Multimedia Software Jean-Michaël Celerier Dinkelspiel Auditorium
Lunch Break + Demos
01:00 PM - 02:30 PM Cross-environment Audio Programming with Haxe Thomas Webb Dinkelspiel Lobby
01:00 PM - 02:30 PM Unsichtbares Klavier (Invisible Piano) Remmy Canedo Dinkelspiel Lobby
01:00 PM - 02:30 PM Norns (Many Sound Instruments) Brian Crabtree Dinkelspiel Lobby
Workshop I
02:30 PM - 04:30 PM Creative Coding with SuperCollider Workshop
Note: Workshop participants are encouraged to bring their own headphones.
Bruno Ruviaro Dinkelspiel Auditorium
Saturday, March 23 — Artistic Track
Time What Who Where
Installation I
10:00 AM - 06:00 PM SENSORIUM Rafał Zapała CCRMA Listening Room
10:00 AM - 06:00 PM "Trapped" Gamified Sonic Interaction Patrick Hartono CCRMA Recording Studio
Concert I
06:00 PM - 07:00 PM When The Curtain Opens Jia Li CCRMA Stage
06:00 PM - 07:00 PM SCLOrk (Santa Clara Laptop Orchestra) CCRMA Stage
06:00 PM - 07:00 PM Fluorescent Nights Brandon Hale CCRMA Stage
Concert II
08:00 PM - 09:00 PM Void Vilbjørg Broch CCRMA Stage
08:00 PM - 09:00 PM Ad Inifinitum Georg Boenn CCRMA Stage
08:00 PM - 09:00 PM The Last Groove Henrik von Coler CCRMA Stage
08:00 PM - 09:00 PM IDE Fantasy Iannis Zannos, Natalie Mandila, Anastasios Pappas Petridis, and Nikos Charalambidis CCRMA Stage
Sunday, March 24 — Scientific Track
Time What Who Where
Paper Session III (Chair: Albert Gräf)
09:00 AM - 09:30 AM Bringing the GRAIL to the CCRMA Stage Fernando Lopez-Lezcano, and Christopher Jette Dinkelspiel Auditorium
09:30 AM - 10:00 AM Rendering of Heterogeneous Spatial Audio Scenes Nicolas Bouillot, Michał Seta, Émile Ouellet-Delorme, Zack Settel, and Emmanuel Durand Dinkelspiel Auditorium
10:00 AM - 10:30 AM A Jack-Based Application for Spectro-Spatial Additive Synthesis Henrik von Coler Dinkelspiel Auditorium
10:30 AM - 11:00 AM Coffee Break
Paper Session IV (Chair: Julius O. Smith)
11:00 AM - 11:30 AM GPU-Accelerated Modal Processors and Digital Waveguides Travis Skare, and Jonathan Abel Dinkelspiel Auditorium
11:30 AM - 12:00 PM CPU Consumption for AM/FM Audio Effects Antonio Goulart, Marcelo Queiroz, Joseph Timoney, and Victor Lazzarini Dinkelspiel Auditorium
12:00 PM - 12:30 PM Formalizing Mass-Interaction Physical Modeling in Faust James Leonard, Jérôme Villeneuve, Romain Michon, Yann Orlarey, and Stéphane Letz Dinkelspiel Auditorium
12:30 AM - 01:00 PM Are Praat's Default Settings Optimal for Infant Cry Analysis? Giulio Gabrieli, Wan Qing Leck, Andrea Bizzego, and Gianluca Esposito Dinkelspiel Auditorium
Lunch Break + Posters
1:00 PM - 02:30 PM Switching "Le SCRIME" Over to Linux as a Complete Novice Thibaud Keller, and Jean Michaël Celerier Dinkelspiel Lobby
1:00 PM - 02:30 PM Bipscript: A Domain-Specific Scripting Language for Interactive Music John Hammen Dinkelspiel Lobby
Workshop II
02:30 PM - 04:30 PM Creating Interactive Compositions on Raspberry Pi with HappyBrackets Angelo Fraietta CCRMA Classroom
Sunday, March 24 — Artistic Track
Time What Who Where
Installation II
10:00 AM - 06:00 PM Re-Sounding Wild Chase Mitchusson CCRMA
10:00 AM - 06:00 PM Out Of This World Advice Emma Lefley, Colin Sullivan CCRMA Recording Studio
Concert III
06:00 PM - 07:00 PM Notoligotoma hardyi Bruno Ruviaro, Dustin Donahue, Janice Edgerly-Rooks CCRMA Stage
06:00 PM - 07:00 PM Impressioni Massimo Fragalà CCRMA Stage
06:00 PM - 07:00 PM Episodes of Opposition, for Unsichtbares Klavier (invisible piano) and live electronics Remmy Canedo CCRMA Stage
06:00 PM - 07:00 PM 66.02N22.06S Christopher Jette CCRMA Stage
06:00 PM - 07:00 PM inMemory[sound-ritual] Stevie Sutanto CCRMA Stage
Concert IV
08:00 PM - 09:00 PM Brain Orchestra Ryo Yumoto, Kenta Tanaka, Reo Anzai, Makoto Amano, Shoya Maruyama CCRMA Stage
08:00 PM - 09:00 PM Gneiss, for Almglocken, Geduk, Computer and 8 Speakers Ainolnaim Azizol CCRMA Stage
08:00 PM - 09:00 PM Pia[NOT] Etude Fernando Lopez-Lezcano CCRMA Stage
08:00 PM - 09:00 PM Fadeferra Michal Seta CCRMA Stage
Monday, March 25 — Scientific Track
Time What Who Where
Paper Session V (Chair: Fernando Lopez-Lezcano)
09:00 AM - 09:30 AM Isochronous Control + Audio Streams for Acoustic Interfaces Max Neupert, and Clemens Wegener Dinkelspiel Auditorium
09:30 AM - 10:00 AM Game|lan: Co-Designing and Co-Creating an Orchestra of Digital Musical Instruments Within the Fab Lab Network Alexandros Kontogeorgakopoulos, and Olivia Kotsifa Dinkelspiel Auditorium
10:00 AM - 10:30 AM Finding Shimi's Voice: Fostering Human-Robot Communication With Music And a NVIDIA Jetson TX2 Richard Savery, Ryan Rose, and Gil Weinberg Dinkelspiel Auditorium
10:30 AM - 11:00 AM Coffee Break
Paper Session VI (Chair: Elliot Canfield-Dafilou)
11:00 AM - 11:30 AM A Scalable Haptic Floor Dedicated to Large Immersive Spaces Nicolas Bouillot, and Michał Seta Dinkelspiel Auditorium
11:30 AM - 12:00 PM midizap: Controlling Multimedia Applications with MIDI Albert Gräf Dinkelspiel Auditorium
12:00 PM - 12:30 PM sc-hacks: A Live Coding Framework for Gestural Performance and Electronic Music Ioannis Zannos Dinkelspiel Auditorium
Lunch Break + Demos
12:30 PM - 02:00 PM Jacktrip on Raspberry Pi Chris Chafe, and Scott Oshiro Dinkelspiel Lobby
12:30 PM - 02:00 PM Karya - Music Sequencer or Language or Score Evan Laforge Dinkelspiel Lobby
12:30 PM - 02:00 PM Neural Nets for Music and Acoustics David Goedicke Dinkelspiel Lobby
Workshop III
02:00 PM - 04:00 PM Qstuff* Forever Rui Nuno Capela Dinkelspiel Auditorium
04:15 PM - 05:30 PM Presentation of LAC-2020 By Jean-Michaël Celerier & Round Table: "What's the Future of LAC?" Dinkelspiel Auditorium
Monday, March 25 — Artistic Track
Time What Who Where
Installation III
10:00 AM - 06:00 PM Algorithmic Urban Composition Kenta Tanaka, Kye Shimizu CCRMA Listening Room
10:00 AM - 06:00 PM Embodied Sonic Meditation: Resonance of the Heart Jiayue Cecilia Wu, Donghao Ren CCRMA Classroom
10:00 AM - 06:00 PM Gendhing Cosmic Jay Afrisando CCRMA Stage
Club Night + BBQ (starting at 07:00 PM)
08:00 PM - 10:00 PM Procedural Abstract Expressionism set to music Mayank Sanganeria Braun Rehearsal Hall
08:00 PM - 10:00 PM Radioperas Aitor Arronte Braun Rehearsal Hall
08:00 PM - 10:00 PM fiestaPirata.com RGGTRN (Luis N. del Angel, Emilio Ocelotl, Marianne Teixido, Jessica A. Rodríguez) Braun Rehearsal Hall
08:00 PM - 10:00 PM 1)3\/1532 David Runge Braun Rehearsal Hall
Tuesday, March 26
Time What Who Where
Workshop IV
09:00 AM - 11:00 AM JUCE Ambisonic Workshop Gabriel Zalles CCRMA Stage
11:30 AM - 12:30 PM Keynote by Fernando Lopez-Lezcano - Dinkelspiel Auditorium
12:30 PM - 01:00 PM Closing Ceremony - Dinkelspiel Auditorium
02:00 PM - 06:00 PM Historical Tour of CCRMA and Dish Walk


Attending

Conference Registration

LAC-19 is a free event open to the pubic: everyone is welcome to attend to the sessions and concerts without registering to the conference. If you'd like to have a badge with your name printed on it, we kindly ask you to send us an e-mail containing the following information:

  • To: lac_AT_linuxaudio_DOT_org
  • Subject: [LAC19 REGISTRATION]
  • First and Last Name
  • Institution
  • E-mail Address

Note: if your paper/performance has been accepted to LAC-19, you don't need to do that.

Club Night

The LAC-19 club night will take place on March 25, 2019 at 7pm in the CCRMA courtyard. It will feature music from members of the community in a "club/party setting". There will a BBQ and soft and alcoholic beverages will be served.

This event is free and anyone can attend to it. However, if you wish to get access to the food and drinks, you'll have to buy a ticket (flat rate: $25) upon check-in at the conference on March 23, 2019. If you cannot be present at the conference that day (and only in that case) and would like to make a reservation to get access to the food and drinks at the LAC-19 club night, please send us an e-mail at lac_AT_linuxaudio_DOT_org, and you'll be able to pay for it directly at the event.

Traveling to LAC-19

By Plane

  • From SFO: you have multiple options to get to Stanford from San Francisco International Airport:
    • Public Transportations: take the BART (see the map) at SFO to the San Bruno (or Milbrae depending on the time you arrive) station, and then change for Caltrain to Palo Alto. Be aware that this solution is FAR from being optimal and we strongly recommend you to opt for one of the following options.
    • Take an UBER (~$45), a Lyft (~$45), or a cab (~$80).
    • Take a shared ride van like SuperShuttle (~$30).
  • From SJC: San Jose International Airport is a nice alternative to SFO (less crowded and closer to Stanford). There is no public transportation option to get from this airport to Stanford: you'll have to use UBER, Lyft or take a cab.

By Train

Good luck! For more information, see the AMTRAK website.

By Car

There's a public parking lot near Tresidder Union, which is very close to the conference venue (Dinkelspiel Auditorium). Parking is free on Saturday and Sunday. Alternatively, you can also park at CCRMA (weekend only, a special permit is needed during weekdays).

Staying at LAC-19

There are dozens of hotels around Stanford (none of them is on campus though). Be aware that Palo Alto is one of the most expensive city in the world :( so don't be surprised by prices. AirBnb is a good alternative. Also, it might be worth staying a bit further away (e.g., Redwood City) and take the Caltrain to get to campus.

Stanford campus is BIG and walking from your hotel to the conference venue might not be an option. Stanford has its own bus network called "Marguerite." It's nice and FREE. Renting a bike during your stay might also be a good option.

Attending to LAC Virtually: Video Streaming and IRC Channel

LAC-19 will be video streamed at the following URL: https://ccrma.stanford.edu/lac19/stream. The easiest way to open this link is to use VLC. Just go in "Media/Open Network Stream."

To interact with presenters during question sessions, we kindly ask you to use the LAC-19 IRC channel: http://webchat.freenode.net/?channels=lac2019.


Venues

Dinkelspiel Auditorium

Paper sessions will be hosted in the Dinkelspiel Auditorium. Located adjacent to the Braun Music Center, across from Tresidder Student Union, and 7 minute away from CCRMA, Dinkelspiel Auditorium is a large 710-seat performance and lecture hall.

Dinkelspiel Auditorium: Outside View

Dinkelspiel Auditorium: Inside View

The Knoll (CCRMA)

Social events such as the "club night" will be hosted at CCRMA, also known as "the knoll".

The Center for Computer Research in Music and Acoustics

Concerts will take place on the CCRMA Stage. This 60 seats modular space features a 56.8 full 3d sound system that can render up to 6th order Ambisonics sound.

The CCRMA Stage


Call for Participation

Call for Papers / Posters / Workshops

LAC 2019 invites submissions of papers, posters, and workshops addressing all areas of audio processing based on Linux and open source software.

All submissions and presentations are in English.

Submitted papers are expected to respect academic standards and must be complete (a simple abstract is not enough).

Submissions can focus on technical, artistic, and/or scientific issues and can target developers and/or users.

This includes (but is not limited to) the following categories:

  • Audio and Music Languages
  • Audio Hardware Support
  • Audio Plugins
  • Drivers, System and Sound Architecture
  • Education and E-Learning
  • Games
  • Interactive Art
  • Interface Design
  • Live Coding
  • Live Performance
  • Media Art
  • MIDI, OSC...
  • Mobile Audio
  • Music Composition
  • Music Production
  • Networked Audio
  • Physical Computing
  • Projects Realized using Linux Audio
  • Realtime Kernel and Linux Distributions
  • Signal Processing and Sound Synthesis
  • Sound Spatialization
  • Standards and Protocols
  • Video
  • Etc.

Full Papers

Full papers must be written and presented in English. The length of papers is 4 to 8 pages, with up to 5 keywords, including an abstract of up to 200 words. The abstract will be published on the conference website once the paper has been accepted. The full paper will be available on the website during and after the conference.

All papers are peer reviewed by a committee of experts from different disciplines. Reviewers may suggest improvements to the author(s), or require changes in order to accept the submission.

The duration of the presentation is 25 minute followed by a 5 minute discussion.

Poster Papers

Poster papers must be written in English, should be 2-4 pages, with up to 5 keywords, including an abstract of up to 150 words.

The abstract will be published on the conference website once the poster has been accepted.

All posters are peer reviewed by a committee of experts in different disciplines. Reviewers may suggest improvements to the author(s), or require changes in order for the poster to be accepted.

Demos

Demos are informal project (e.g., plug-in, software, interface, idea, etc.) presentations that will be carried out in parallel with poster presentations. Demos can be submitted through this online form to be added to the conference program.

Workshops

Workshop presentations (max duration of 2h) should be 1-4 pages, with up to 5 keywords, including an abstract of up to 150 words to be published on the conference website. Make sure that your proposal indicates if participants are expected to have a specific level, if there are prerequisites, if you'd like to limit the number of participants, etc.

Workshops will take place in the CCRMA classroom (which can host approximately 30 people). A projector and a 4 channels sound system will be available in this space.

Submit a brief description of the workshop including a URL (if available).

How to Submit Papers / Posters / Workshops?

  • Use the online submission tool
  • Choose the relevant submission type (_PAPER_, _POSTER_, or _WORKSHOP_) in addition to your 5 categories
  • The required file format is PDF. Authors must use the provided templates for paper formatting.
  • Please let us know if you need a special technical setup for your presentation.

Call for Music / Multimedia Installations

LAC 2019 also invites submissions of musical works involving the use of technology/open source software and multimedia installations.

A jury will select the compositions and installations to be included in the conference program according to artistic merit and technical feasibility. Please be prepared to perform your work yourself and make sure that you have all resources needed to perform your piece (e.g., instruments, props, other performers, etc.).

LAC 2019 cannot pay for any expenses related to a performance (e.g., performers, travel, accommodation, special equipment, etc.).

SCLOrk will be available to perform new (or old) laptop orchestra compositions, so this type of submission is encouraged this year! SCLOrk is the Santa Clara Laptop Orchestra and uses exclusively Linux computers.

Musical works and installations can address all areas of digital audio and audiovisual art. This includes (but is not limited to) the following categories:

  • Electronic Music
  • Electroacoustic Music
  • Mixed Music
  • Acoustic Music
  • Sound Installation
  • Interactive Art
  • Audiovisual Installation
  • Game in art
  • Web and Connected Art

Available Setups

For concerts, LAC will provide the following equipment:

  • CCRMA Stage: 56.8 full 3d sound system (up to 6th order Ambisonics)
  • CCRMA Listening Room: 22.4 sound system (up to 3d order Ambisonics)
  • SCLOrk (the Santa Clara Laptop Orchestra). Pieces accepted for a performance with SCLOrk will be added to the rehearsal schedule of the corresponding SCU class.
  • Additional requests can be made but are not be guaranteed.

How to Submit Music / Multimedia Installations?

  • Use the online submission tool
  • Select the submission type _PERFORMANCE_
  • The required file format is PDF, formatted for Letter paper size. Submissions should include:
    • Description of the project program notes
    • Link to video or audio demonstration of the project
    • Technical rider of the work


Diversity Statement

The Linux Audio Conference welcomes and encourages participation by everyone. We want to foster a variety of perspectives, and our goal is to create an inclusive, respectful conference environment that invites participation from people of all races, ethnicities, genders, ages, abilities, religions, and sexual orientation.

LAC is dedicated to providing a harassment-free conference experience for everyone, regardless of gender, gender identity and expression, sexual orientation, disability, physical appearance, body size, race, age or religion. We do not tolerate harassment of conference participants in any form. Sexual language and imagery is not appropriate for any conference venue, including talks. Conference participants violating these rules may be sanctioned or expelled from the conference at the discretion of the conference organizers.