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International Workshop on Movement and Computing (MOCO'16)
July 5-6 2016, Thessaloniki, Greece
MINES ParisTech, France
Paris 8 University, France
University of Macedonia, Greece
Aristotle University of Thessaloniki, Greece
Following on from the two previous successes of the International Workshop on Movement and Computing (MOCO’14) at IRCAM (Paris, France) in 2014, as well as MOCO’15 at Simon Fraser University (Vancouver, Canada) in 2015, we are pleased to announce MOCO'16, which will be hosted in Thessaloniki, Greece. MOCO'16 will be organized by MINES ParisTech, (France) in co-operation with the Paris 8 University (France), the University of Macedonia, Thessaloniki (Greece) and Aristotle University of Thessaloniki (Greece).
The vision of MOCO'16 is to bring together academics, researchers, engineers, designers, technologists, technocrats, creative artists, anthropologists, museologists, ergonomists and other practitioners interested in the phenomenon of the symbiosis between the human and the creative process, e.g. dancer-digital medias, musician-instrument, craftsman-object etc. This symbiosis takes the form of an interactional and gravitational relationship, where the human element is both a trigger and a transmitter, connecting perception (mind/environment interaction and cognition), knowledge (theoretical understanding of a process) and gesture (semantic motor skills).
MOCO'16 invites researchers that have experiences of capturing the combined key elements of perception, knowledge and gesture/movement. MOCO'16 will be of interest to artists who work on the elucidation of the intersection between art, meaning cognition and technology by unlocking the hidden components in human creativity. The workshop also provides a forum for industrial partners, for whom the movement and gestures of the workers/operators consist of key elements in terms of ergonomics and health, to see and present state-of-the-art technologies.
A key feature of the MOCO'16 Workshop will be to open some of its demonstrations and artistic activities to the public-at-large in order to provide this extended audience with the opportunity to be informed about current scientific issues and topics by experts in an informal setting. 
​​Suggested Topics
* Movement in Digital and Performing Arts, which focus on the use and interaction between arts and movement in the following domains: music, dance, song, graffiti, painting etc..
* Technical and Craftsmanship Gestures, highlighting the importance of gestures in the professional context, whether technical or cultural.
* Interaction, Communication and Design of User Experience, which put the emphasis on gestures and movement as interfaces between humans and machines.
* Analysis and Modelling, centred on the use of mathematical, statistical or methodological tools for a better understanding of gestures and movement.
These topics overlap and are in no way exhaustive, so we also welcome contributions focusing on other areas, with titles which might include any of the following keywords:
* Finger-based interaction
* Embodied and whole body interaction design
* Professional movement and gesture
* Movement analysis and analytics
* Movement expression in avatar, artificial agents, virtual humans or robots
* Sonification and visualization of movement and gesture
* Modeling movement, gesture and expressivity
* Sensori-motor learning with audio-visual feedback
* Motion-driven narrative
* Dance and technology
* Movement representation
* Embodiment and embodied cognition
* Mediated choreography
* Mechatronics and creative robotics
* Movement in affective computing
* Music and movement
* Somatic practice and design
* Dance and neuroscience
* Vocal tract movements in singing voice
* Design for movement in digital art
* Movement computation in ergonomics, sports, and health
​​Participation in the workshop
The workshop is an opportunity to present a research or study or details of collaborative work. Participants will have the opportunity to offer a presentation of the results of their research on one of the themes of the workshop and to interact with their scientific/ artistic peers, in a friendly and constructive environment.
If you are interested in offering an oral presentation of your work, please submit a paper and/or a demo and/or a poster. 
The submission categories are:
* Long paper with oral presentation (8 pages maximum) 
* Research note with oral presentation (4 pages maximum)
* Extended abstracts with poster presentation (2 pages maximum)
* Demonstration (one of the above papers (2 pages minimum + Demo proposal form).
All submissions should be in pdf format and should use the MOCO’16 template – adapted from ACM SIGCHI template 
It is possible for participating authors to submit a demonstration proposal in addition to their regular paper submission by completing the Demo proposal form and sending it along with their submission. Together with the demo proposal form, authors have to provide a link to a video about their work. The demo proposal form is mandatory for all demo submissions and must include details about technical set-up and space requirements.
Online submission: All submissions must be made through the Open Conference System (OCS)
All submissions must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library.  
​​Important Dates
Submission deadline for Papers & Demos extension : ​1 March 2016 (5:00pm GMT+2)
Notification: 20th April 2016
Early bird registration: 30th May 2016
Early program: 10th June 2016
University of Macedonia
156 Egnatia Street, GR-546 36 Thessaloniki, Greece
Aristotle University Research Dissemination Center
3rd September Avenue, GR-546 36 Thessaloniki, Greece
​​MOCO Steering Committee
 * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada
 * Philippe Pasquier, SIAT, SFU, Vancouver, Canada
 * Sarah Fdili Alaoui, UPSud, INRIA, Ex-SITU, Orsay, France
 * Frederic Bevilacqua, Ircam, Paris, France
 * Jules Françoise, SIAT, SFU, Vancouver, Canada
Contact email:
​​MOCO'16 Organizing Committee
​​* Sotiris Manitsaris, General Conference Chair, MINES ParisTech, Paris, France
* Leontios Hadjileontiadis, General Scientific Chair, Aristotle University of Thessaloniki, Greece
* Jean-François Jégo, General ​​Artistic Chair, Paris 8 University, France
​* ​Vincent Meyrueis​, General ​Demo Chair​, Paris 8 University​, France
* Athanasios Manitsaris, Local Committee Chair, University of Macedonia, Thessaloniki, Greece
Contact email:
Cordialement | Regards | Με τιμή,
Dr. Sotiris Manitsaris

Senior Researcher | Research Project Leader
Centre for Robotics | MINES ParisTech | PSL Research University
A : 60, boulevard Saint Michel | 75272 Paris cedex 06 | France
T : +33 01 40 51 91 69 |  M :
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Participate at MOCO’16
3rd International Workshop on Movement and Computing
5-6 July 2016 | Thessaloniki | Greece
The CfP is now open!
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Special issue of Computational Culture, a Journal of Software Studies

Edited by Nicolas Salazar Sutil, Sita Popat and Scott deLahunta




Intersections between human movement, computer science and motion-tracking/sensing technologies have led to novel ways of transferring body data from physical to digital contexts. From a practical perspective, this integration requires engagement across key disciplines, including movement studies, kinesiology, kinematics, biomechanics, biomedical science and health studies, dance science, sports science, and computer science. This development has also provoked theoretical and critical discourse that has tried to preserve, based on its grounding on bodily and kinetic practice, the differentiation of lived-in and body-specific knowledge. Here is a mode of datarization perhaps closer to what Deleuze (1988) called “immediate datum”: i.e. information stemming not from an abstract and re-moved conceptualisation, but from real-world experience of movement, and the immediate perception or capture of kinetic information through physical or sensorial means. Within the field of software studies, advancing a sense of digital materialism has raised concerns for the materiality of technological media, for instance by focusing on the physical constraints of data storage, or the material dimension of computing. But what about “immediation”, i.e. immediate computation of bodily movement by machines for immediate expression, representation or enactment in digital contexts? And what of the representability of such immediation? How can we describe movement and preserve its datum of difference within a scriptable or graphicable computer language without falling into a universal sameness, a movement without bodies?


Whilst the idea that immediate data may demand a “bodying forth” (Thrift 2008), a traffic of bodiliness from biological to technological contexts, it is necessary to de-homogenise the ‘body’ category. Perhaps what is needed is an understanding of “corporeality” that assume multidimensional and relativistic realities of bodies instead, opening up nuanced discourses based on specific body-related ontologies (corpuscles, builds, anatomies, skeletons, muscle systems) all making up a non-singular sense of the bodily real. As such, this collection poses the problem of criteria. Our question is this: how and to what effect does the research community adopt arbitrary criteria in order to compute the body and bodily movement? Can we define narratives emerging from this body-computing arbitration to provoke a critique? 


There is a possible tension between “bodying forth”— the idea of a single body operative across both biological and computational contexts—and corporeal relations. We would like to focus this critical edition on the relations between differentiated anatomical or bodily systems (skeletal, muscular, nerve, etc.), and different modes of computation, as well as different theoretical discourses stemming from this experiential basis. If we recognize the problem of relationality we must assume that more than one complex set of co-relations meet when the machine computes the moving human body. How do we start the process of computer-generated learning in terms of selecting body parts, functions, organs, processes, on the one hand, and key languages, code, or indeed technological tools for capture on the other? To what extent does corporeal computing contribute to certain bodily systems (or perhaps even body types) becoming the key agents of action, and indeed learning, in such contexts? How do we respond critically to privileged systems (the skeletal, the muscular), and body types (so called ‘normal bodies’)? To what extent are computational paradigms still dominated by spatial, extensive and quantitative determinations (i.e. the tracking of skeleton, body geometry, kinematic shapes, etc.) that hide other, more intensive, modes of corporeality? And finally, how do we reintegrate the multiplicity of the corporeal in a computational synthesis? For instance, how can we understand the quantitative and qualitative (dynamics, effort, tone, intensity, etc.) as overlapping data priorities?


Topics or projects might include:

  • Computable relations between bodies and digital avatars, digital dance representations, digital sports representations, digital health representations, digital animation— digital bodies in general.
  • Computable relations between biological bodies and robotic systems.
  • Computing relations between physical movement and abstract thought, automated thought (AI) or machine learning.
  • Computing mobility studies (i.e. relations between body and automobile, body and assisted mobility machines, body and prosthetics).
  • Computing sociokinetic material (i.e. computing the movement of groups of bodies).
  • Affective corporeal computing— the capacity to process psychophysical and cognitive processes within corporeal movement (e.g. computing effort, dynamics, tonicity, emotion).
  • Integration of quantitative and qualitative body datasets.
  • Metabody theory and notions of meta-anatomy, meta-strata in the ontological literature (i.e. movement of digital ghosts, sprites, techno-animism, etc.)


750 word abstracts are due April 17th.


Abstracts will be reviewed by the Computational Culture Editorial Board and the special issue editors. Authors of selected abstracts will be notified by April 24th and invited to submit full manuscripts by September 26th. These manuscripts are subject to outside peer review according to Computational Culture’s policies. The issue will be published in January 2017.


Computational Culture is an online open-access peer-reviewed journal of inter-disciplinary enquiry into the nature of cultural computational objects, practices, processes and structures


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