Bibliographic record
Abstract
The Ars Electronica Festival for Art, Technology, and Society took place 3–7 September 2025 in Linz, Austria. In the category of Digital Musics and Sound Art, the Golden Nica went to Navid Navab and Garnet Willis for Organism, a performance platform, installation, and live performance work employing a multi-jointed structure with electronics to drive and gather data from its swinging motions, mapped to a reconstructed pipe organ that has had turbulence-mitigating measures removed. Awards of distinction went to Jonathan Chaim Reus for BLA BLAVATAR vs JAAP BLONK, a performance for voice and neural network that begins with providing vocal sounds for a training dataset and evolves into an improvisational duo, and Ioana Vreme Moser for Mineral Amnesia, an installation that plays sound from outmoded chips for erasable programmable read-only memory (EPROM) as the memory is slowly eroded with ultraviolet light.Web: ars.electronica.art/prix/en/winners/#digitalmusicssoundartThe Canadian Electroacoustic Community has announced the 26th Jeu de temps / Times Play awards for recent works by emerging electroacoustic artists from or living in Canada. Emanuel Brie and Antonin Gougeon-Moisan won first prize, the Martin Gotfrit and Martin Bartlett Award for live electroacoustic practices, and the Yves Gigon Award for the most outrageous electroacoustic work for a performative installation exploring the sounds and gestures of various types of workers, titled Quand on donne aux choses un sens, rien ne sert de chercher la direction.Cordell Collett won the jef chippewa Award for indigenous cultural background for Nøkken, playing on sounds from nature; Graeme Dyck won the Barry Truax Award for environmental or ecological audio practices for Frost Worlds: Micro-Geographies of the Anthropocene, using contact microphone recordings from ice and snow; and Gabriel Geneau won the Jean Piché Award for videomusic, new media, or creative coding for Ecdysis, an audiovisual work portraying the process of emotional struggle and transformation. Vivian Li won second prize for Sonic Memories of Fleeting Times, and third prize was shared by James Player, who also won the Hildegard Westerkamp Award for soundscapes and sound installations, and by Michele Selvaggi, who also won the Micheline Coulombe Saint-Marcoux Award for self-identified female or non-binary electroacoustic artists.Web: jttp.ca/2025The Association for Computational Creativity held the 16th International Conference on Computational Creativity at the University of Campinas (Unicamp) in Campinas, Brazil, 23–27 June 2025. Composer Jônatas Manzolli gave the keynote address on interactive spaces for creative work, and Unicamp students presented a workshop on improvisation with sound and movement using Manzolli's MoveGuitar application. Among the interdisciplinary paper sessions organized around the topics of co-creativity, ideation, large language models, graph-based systems, narrative, language, narrative, humor, design, new frontiers, and evaluation, Daniel Manz and Mick Grierson presented an embedded musical instrument exploring neural network bending.Web: computationalcreativity.net/iccc25/The Computer Music Interest Group of the Brazilian Computing Society held the Brazilian Symposium on Music Computing at the University of Campinas, 15–17 September 2025, in Campinas, Brazil. Paper sessions were organized around the topics of artificial intelligence, music information retrieval, software development, musical cognition, real-time systems for improvisation and telematic performance, machine listening, and signal processing and synthesis. The conference included three evening concerts as well as roundtable discussions on topics in artificial intelligence, ecology, and computational musicology.Web: sbcm2025.nics.unicamp.br
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.002 | 0.001 |
| Scholarly communication | 0.008 | 0.004 |
| Open science | 0.002 | 0.003 |
| Research integrity | 0.004 | 0.003 |
| Insufficient payload (model declined to judge) | 0.700 | 0.584 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".