Proceedings

Professor Mark Plumbley introduced the work of the Centre for Digital Music (C4DM), Queen Mary, University of London. The Centre is a world-leading multidisciplinary research group in the field of Music & Audio Technology, investigating topics such as music information retrieval, music scene analysis, semantic audio processing, object-based audio coding, human machine interaction and digital performance. With its broad range of skills and a strong focus on making innovation usable, the Centre for Digital Music is ideally placed to work with industry leaders in forging new business models for the music industry.

Dr George Fazekas delivered a talk about technologies developed at the Centre for Digital Music, including knowledge transfer initiatives, such as their content-based recommendation technology currently trialled by the BBC and iLikeMusic, the BBC Desktop Jukebox and research tools such as the Sonic Visualiser, which is widely used within the music information retrieval community.

Reviews on the shortcomings of the existing approaches to music transcription, MIR generic systems and user modelling, hints on ways to overcome them. Capita misunderstandings between researchers of potentially synergistic disciplines (music cognition). Lack of infrastructures to reuse, recycle and take advantage of the existing MIR knowledge that persists under the shape of computer code.

Among the potential topics to be discussed are: 1) Definition of the tasks to be evaluated: What methodology should be used to define the task (bottom‐up vs. top‐down)? For which purpose should a task be evaluated: low‐level tasks (functionality‐oriented such as beat, chords) vs. full‐system tasks (use‐case‐oriented such as music recommendation systems). Specific tasks that are part of large‐scale international evaluations define de facto the specific topics that new contributors to the MIR field will work on. The methodology followed to define tasks is therefore of utmost importance.

2) Evaluation: How should a specific task be evaluated? Which data, which measures, what is the reliability of the results obtained?

3) Data: How to get more data? How to deal with data availability (not only music collections, but also raw system outputs, judgments, annotations)? Should we go to low‐cost evaluation methodology (see TREC Million Query Track 2007, 2008 and 2009)? Currently most MIR systems are concerned with audio‐only or symbolic‐only scenario. Multi‐modal systems (such as aggregating information from the audio‐content, from lyrics content or web mining) should allow deciding also on the impact on final user application of each technology.

4) Methodology: What is the best methodology to drive improvements? What kind of evaluation framework (open vs close evaluation)? What could be improved in previous evaluation initiatives? How can we make results reproducible? How can we make MIR evaluation sustainable along time?

What are the most important challenges facing the MIR community in the coming years? In the MIReS project we have begun to identify several areas for future investigation by considering technical, as well as social and exploitation aspects of MIR research. Amongst the many topics are musically-relevant data, knowledge-driven methodologies, interface and interaction aspects, evaluation of research results, social aspects, culture specificity, industrial, artistic, and educational applications. The current list of challenges is a work in progress and can be found on the MIReS wiki. We warmly welcome suggestions and additions to this list by the MIR community, and are very interested to hear particularly from researchers who may have already begun to address some of these new challenges. Feel free to add comments or additional challenges to our wiki and highlight the challenge you think deserves a longer discussion. An ISMIR session would enable the community to participate in a lively discussion over the future of the field

Matthew Hawn of Last.fm delivered a talk about the new applications that Last.fm are building at to enhance the music playlist user experience, and about the collaborations with students and academic researchers in Aarhus, Denmark, to create novel forms of physical interaction using the Last.fm API.

Awards to the Hackers who contributed to the Music Tech Fest were announced by special guest Tim Exile.

An important platform has been gained with the Music Tech Fest channel on YouTube, which contains professionally filmed and edited videos of each Music Tech Talk, and which is serving as a repository of documented events and public information, as well as attracting proposals for further contributions. The partners involved plan to continue to incentivise the Music Tech community thus created throughout the duration of the MIReS project, and encourage continued use of this framework beyond the duration of the project.

The Music Tech Fest YouTube film release programme has enabled the brand to continue to build a global following and to reach new territories, like Brazil, that had not originally tuned in to the live broadcast during the festival.

Tonic detection and Intonation characterization in Indian music: In Indian music the tonic functions as the reference pitch from which all the harmonic and melodic relationships are stablished during a performance. Its automatic detection is a necessary step for analyzing many musical aspects and thus it was the first problem that we wanted to solve. I consider the tonic detection results obtained and reported in these articles sufficient for the purposes of the project. A natural next step is the characterization of the intonation used in a performance. This is a not solved problem but the initial results reported at the workshop are quite promising. The proposed representation of intonation in raga music can be a valuable element used to describe various musical aspects.

Melody issues: There were many talks related to the characterization of melodies, both in Indian and Turkish musics. An advantage of Turkish music is the existence of scores, making it very valuable for the study of some melodic aspects. For using the audio signals an important first step is the extraction of the pitch contour of the lead instrument, which requires a multipitch methodologies. Both makam and raga music have particular ways in which melodies are constructed and thus they require specific approximations in order to characterize them. Most of the presentations reported preliminary work and there is a long way to go before we have proper parameterizations with which to identify musically meaningful melodic elements. Two of the papers by external researcher focused on the synthesis of melodies, which is an interesting aspect not covered in the project.

Rhythm issues: Both Turkish and Indian rhythms are very particular. The rhythm in Turkish music revolves around the concept of usul and the one in Indian music is based on the concept of tala. These concepts have been quite well formalized by musicologists but there is practically no computational work on them. Two of the articles presented very preliminary computational work, but there is a lot to be done before the existing musicological formalization can be turned into algorithmic approaches to describe the rhythm of both Turkish and Indian musics. One article presented some work on perceptual aspects of rhythm, which we are not covering within the project.

Community characterization: A basic premise in CompMusic is the need to study and characterize the communities, people, that support the music that is being studied. We want to analyze on-line communities and develop methodologies to extract musically relevant knowledge from them. Freesound is an on-line community of people that share and talk about sounds that we have used to start developing methodological approaches of relevance to the project. The first musically relevant on-line community that we have studied has been Rasikas.org, using it to extract musically relevant information for the case of Carnatic music.

Tools for browsing and discovering music: In CompMusic we are very interested in developing tools and methodologies to be used in practical music applications, especially applications for browsing audio music collections. A relevant functionality is to be able to discover patterns and musical relationships from which a listener can learn to appreciate better the music of a given culture. We presented a paper on the initial application prototype that is developed and other researchers presented systems that are being used in tasks of relevance to CompMusic.

1. Ongoing debate on musical emotion:
   • music-induced mood and emotion - are they the same or different?
   • are musical emotions “real”?
   • perceived and felt emotion - are they the same or different?
   • are musical emotions similar to other emotions?
   • what are the best models of musical emotion?
   • musical emotion = aesthetic experience?
   • role of expertise, gender, culture and social context?
   • most studies relaying on self reports of emotions - are they trustful?
2. MIR tools/systems for historical musicology which extends its exploration focus from score analysis to performance analysis
   • current industry oriented applications not suitable for the musicologist
   • mainly text/label based information retrieval from available commercial databases
   • music as a dynamic process needs sufficient tools to track its key temporal changes within the whole structure
3. Provocations about CMMR research and musical value
   • music is important for us, we are emotional about music
   • are we confusing between the two: being emotional about music and recognising emotions in music?
   • if we care about music so much, why do we not treat is as if with cotton gloves, like a precious item?
   • it is not true that we do not have an effect on music that we research by doing our research, if we think that music cannot be spoiled we are wrong
   • nowadays music experience has become an individual experience associated with travel thanks to MP3 compression algorithms
   • what is CMMR research doing to musical culture, what are the consequences?
4. Expanding the musical object (from the score centralised to the sound file centralised) including
   • the performance in context (place, time, participants, social function, psychological state of participant(s))
   • liveness (unfolding in present time, others listening with you, spatial arrangement, behavioural cues from performers, behavioural cues from audience members)
5. Addressing human benefit
   • social benefit (limited resources, responsibility not to waste them, prioritise work that contributes to well being, social welfare, social justice)

1. Music Recommendation: Is it as good as Human Recommendation?
   • For some speakers, Music Recommendation is as good as it can be. For some others, there is still a long road ahead for every user to have their own John Peel. Also, Music Recommendation still lacks to take the time factor; the sociocultural evolution of what a given song/artist represent. This is a big topic which should be addressed.
2. Music Charts
   • They are still relevant. Music is emotion and connects people. Listening to the same songs as your peers is a way for creating bonds with them. The charts are now more granular per tag/microstyles/community of friends.
3. Geographical Tagging: very relevant for music personalization.
4. Music Services Interoperability
   • Absolutely necessary in order to create new user experiences. Musicbrainz is trying to reach that by building a unified music metadata database. New tools have appeared in the last years to resolve content regardless across music repositories, streaming services and geographic territories (http://www.tomahawk-player.org/).
5. Playlist Generation (Music Listening Experience)
   • Since music is basically emotion, new music experience tools must focus on emotional coherent experiences.
6. User Experience: “why music services still look like music spreadsheets?”
   • More research is required in tangible and visual interfaces. Songs are no longer than 3-minute mp3 files but they can be hours long, divided into tracks available through the artist mobile app.
7. Unified Music Database: having a Unified universal metadata database for musical assets is key for building the music rights tracking systems of the future.

The Music Technology Group has organized Music Hack Day events in Barcelona since 2010. This edition of Music Hack Day at Barcelona is being organized in collaboration with Sonar Festival like last year, taking advantage of the great exposure presented by this Festival (more than 98.000 attendees, 1.384 professionals and 466 media last year 2012). This Barcelona Music Hack Day edition involved 30 people representing 18 companies or entities coming from the music technology field plus 90 hackers and 10 artists who were in charge of creating applications using involved entities’ resources.

The session started with the presentations of the tools available for hackers given by 18 companies' representatives. Then the conceptualization stage started where participants (or hackers) suggested hack ideas and built teams, based on individual interests and skills. At 14pm the main work of the hacking session began, which lasted 24 hours until the 14pm of the following day (overnight hacking included). At the end of the hacking session, there was a series of demonstrations of the 37 hacks developed as main outcome of the session. The best in-show hacks were awarded by a panel of judges from involved companies and sponsors who selected the winning teams, and the prizes were given.

1. What can we do with the Information a-la-ISMIR (audio-descriptors, source-separation, chords, beats, auto-tags) for Creation?
2. What other Musical Information can be used for Creation (symbolic, sensors, …)?

Topics included: rights clearance, access to music collections for artists and researchers, music data visualisation, metadata creation and management, installation art driven by sound and music data, the impact of research on the music industry and innovative SMEs, new musical instruments driven by data, and performing with data. Written feedback and challenges have been gathered into a 45 page document for consideration by the MIReS consortium.

The festival attracted 1,036 attendees, an audience of over 700 live streaming viewers from 40 countries, and over 10,000 visitors to the site in May 2012 only. 830 minutes of video footage was captured on each of the three cameras and the 20 minute talks, demos and performances have been edited for the new Music Tech Fest: Music Tech Talks channel on YouTube.

Funded speakers: Frederic Rousseau (IRCAM, research - MIReS partner), Christian Blom (artist), Matthew Davies (INESC - research, MIReS partner), Oscar Paytuvi (BMAT - SME, MIReS partner), Avi Ashkenazi (artist), Adam Place (Alphasphere - artist), Bruno Zamborlin (Mogees - artist and IRCAM/Goldsmiths research), Carles Lòpez (Reactable - artist)

Non-funded speakers: Matt Balck (Ninjatune - music industry, and Coldcut - artist), Nicole Yershon (Ogilvy Digital Labs - media industry), Estefania Caño (Fraunhofer / Songs2See - research), Saoirse Finn (QMUL - research, MIReS partner), Patrick Bergel (Animal Systems - SME, research), Ben Lawrence (Mixcloud - SME), Evan Stein (Decibel - SME), Kim de Ruiter (Noise Inc - SME), Matthew Sherett (Last.fm - SME), Tim Hadley (rara.com / Omnifone - SME), Philippe Perreaux (Right Clearing, SME), Cliff Fluet (Lewis Silkin - legal, music industry), Ed Averdieck (Cue Songs - SME), Will Page (PRS - music industry), Michela Magas (Stromatolite - SME and research, MIReS partner), Daniel Lewington (MPme / Apsmart - SME), Michael Breidenbrücker (RjDj - SME), Peter Kirn (Create Digital Music - research), Martin Ware (Illustrious - SME and music industry), Tom Cheshire (Wired - media industry), Jason Titus (CTO Shazam - music industry), Dave Haynes (VT Soundcloud - SME and music industry), DJ Ham (Ninjatune - music industry), Martin Macmillan (Soniqplay - SME), Paul D (artist), Olivier de Simone (webdoc - SME), Johann Waldherr (Spectral Mind - SME), Stephen O’Reilly (Mobile Roadie - SME and music industry), Ariel Elkin (London Music Hackspace - research), Jake Williams (artist and Goldsmiths music research), Daniel Jones (artist and Goldsmiths music research), Cassiel (artist), Jason Singh (artist / Victoria and Albert museum resident sound artist and music researcher) The festival has established the foundation for regular Music Tech Talks. The next Music Tech Talks are scheduled for July 26th 2012 in a dome set up especially for the London Olympics.

The event generated novel applications of music information to objects like light sabres, play environments like ping pong tables, as well as new musical instruments and tangible interfaces. The final results were presented on the main stage to festival audiences and have been filmed for upload on the new Music Tech Fest / Music Tech Talks channel on YouTube.

The final results were presented on the main stage to festival audiences and will be uploaded on the new Music Tech Fest / Music Tech Talks channel on YouTube.

1. How to foster collaboration between researchers from different disciplines (musicologists, musicians, engineers...)?
   • need to build truly interdisciplinary teams
   • it is important to turn computational modes into usable tools that ethnomusicologists or musicologists can use
   • need to define new methodologies adapted to the use of technology for ethnomusicological studies
2. Is it right to focus on single culture studies rather than approach musical phenomena cross-culturally?
   • need to study single cultures but at the same time we need to keep links and collaborations between cultures to perform cross-cultural analyses.
3. Which should be our next steps in establishing ethno-Music Information Retrieval (ethno-MIR)?
   • create an ethno-MIR Special Interest Group within the ISMIR society
   • organize an annual meeting during ISMIR
   • establish FMA as an annual forum for ethno-MIR
   • write grant proposals for collaborations in ethno-MIR; in particular a proposal for a European COST action that would support conferences and workshops in ethno-MIR

1. differences between tabla and mridangam in terms of rhythmic playing
2. improvisation styles based on melodic signatures and phrases in both Hindustani and Carnatic musics
3. Gamakas in Carnatic music versus meends/gamakaas in Hindustani music
4. characterization of Gharanas in Hindustani music in terms of intonation, melody, and rhythm
5. types of singing Khayal vs. Drupap

MIDEM provides a forum for business talks, political and legal discussions. It also is a platform for showcasing new artists, musical trends and music-related products. A series of conferences are also organised to promote MIDEM's growing vocation of educating the music industry about new revenue streams.

The 2nd International ACM Workshop on Music Information Retrieval with User-Centered and Multimodal Strategies. MIRUM, held in conjunction with ACM Multimedia, provides a platform at a premier multimedia venue for discussing open challenges and presenting state-of-the art work on music information retrieval adopting user-centered and multimodal strategies. The workshop explicitly aims to initiate a cross-disciplinary idea exchange between experts in the fields of music and multimedia information retrieval (and other related fields).

The Summit addressed various issues, such as research and business challenges, societal and user needs, implementation requirements, regulatory and standardisation environment, etc, related to the Implementation of the Future Media Internet towards New Horizons. The programme consisted of a number of key notes and invited talks, an exhibition focused on presentation of research results in the EU NEM area achieved by various EU projects and organisations, three Scientific and Technical Summit Tracks, as well as an Application and Experimentation Summit Track.

The 13th International Society for Music Information Retrieval Conference. The annual ISMIR Conference is the world's leading research forum on processing, searching, organizing and accessing music-related data. The revolution in music distribution and storage brought about by digital technology has fueled tremendous research activities and interests in academia as well as in industry. The ISMIR Conference reflects this rapid development by providing a meeting place for the discussion of MIR-related research, developments, methods, tools and experimental results. Its main goal is to foster multidisciplinary exchange by bringing together researchers and developers, educators and librarians, as well as students and professional users.

The Search Computing Workshop includes participation from the Networked Media EC Unit and Media Search Cluster, and includes invited talks from experts coming from industry, academia and policy organizations covering various topics of Search Computing.

The 15th International Conference on Digital Audio Effects Conference (DAFx-12). This annual conference is a coming together of those working across the globe in research relating to digital audio processing for music, sound art, acoustics and related applications. The five-day program for this conference includes, in addition to presentations of papers reporting scientific and practical discoveries, concerts and a full social program.

CloudBusting is a day-long tech conference held on the GMIT Galway campus in association with ITAG, GMIT and supported by HP, examining the technologies and services offered in the cloud.

The 38th International Computer Music Conference. Since 1974 ICMC has been the preeminent annual gathering for computer music practitioners from around the world and its unique interweaving of professional paper presentations and concerts of new computer music, refereed by ICMA- approved international panels, creates a vital synthesis of science, technology and the art of music. The theme of the 2012 conference is Non-Cochlear Sound, which can be understood as an analogy to the Duchampian notion of non-retinal art. The aim is to investigate the potential of sound as a medium and further, the potentials of music in conjunction with new technologies to create new possibilities of artistic expression, which could create a closer relation to language and consequentially, enable generation of meaning and production of knowledge.

The 20th European Signal Processing Conference. EUSIPCO is organized annually by the European Association for Signal, Speech, and Image Processing (EURASIP). The conference focuses mainly on signal processing theory, algorithms, and applications.

The 39th International Conference and Exhibition on Computer Graphics and Interactive Techniques. The SIGGRAPH conference and exhibition is a five-day interdisciplinary educational experience including a three-day commercial exhibition that attracts hundreds of exhibitors from around the world. SIGGRAPH is widely recognized as the most prestigious forum for the publication of computer graphics research. In addition to SIGGRAPH's leading-edge technical program, the conference's installations provide close-up views of the latest in digital art, emerging technologies, and hands-on opportunities for creative collaboration. The conference also hosts the international SIGGRAPH Computer Animation Festival, showcasing works from the world's most innovative and accomplished digital film and video creators. Juried and curated content includes outstanding achievements in time-based art, scientific visualization, visual effects, real-time graphics, and narrative shorts. Since 1999, the festival has been an official qualifying event for the Academy of Motion Picture Arts and Sciences Best Animated Short Film award.

Joint 12th International Conference on Music Perception and Cognition (ICMPC) and 8th Triennial Conference of the European Society for the Cognitive Sciences of Music (ESCOM). The conference brings together leading researchers from different areas of music cognition and perception. Papers are invited that reported empirical and theoretical research that contributes to a better understanding of how music is perceived, represented and generated. The conference welcomes contributions from a broad range of disciplines, such as psychology, psychophysics, philosophy, aesthetics, neuroscience, artificial intelligence, psychoacoustics, linguistics, music theory, anthropology, cognitive science, education.

The 9th Sound and Music Computing Conference "Illusions". The SMC Conference is the forum for international exchanges around the core interdisciplinary topics of Sound and Music Computing. SMC 2012 is organized by the Medialogy section, Department of Architecture, Design and Media Technology, Aalborg University Copenhagen.

This workshop covers all the topics of relevance to CompMusic, bringing together the researchers working in the project plus researchers willing to contribute to the problems that are being worked on in the project. A selection of the articles presented in the workshop will be published as a special issue in the Journal of New Music Research.

The 9th International Symposium on Computer Music Modeling and Retrieval "Music and Emotions". CMMR is an interdisciplinary conference involving fields such as computer science, engineering, information retrieval, human computer interaction, digital libraries, hypermedia, artificial intelligence, acoustics, audio and music signal processing, musicology, music perception and cognition, neuroscience, as well as music composition and performance.

The 19th International Festival of Advanced Music and New Media Art. SONAR 2012 is a pioneering festival that is unique in terms of its format and content: a leading international benchmark thanks to a carefully assembled range of culture that combines entertainment with artistry, the avant garde and experimentation, featuring the most consolidated artists and trends in electronic music and their interactions and hybridisations with other genres.

SONAR’s artistic programme is divided between the activities at SONAR by Day (concerts, showcases, professional zone, exhibition area), the keynote of which is the search for new talent, and the major shows at SONAR by Night, which presents the leading names on the international music landscape.

"MIR and Creation" workshop exposes the specialists' point of view on the MIRs of today and tomorrow in the creative domain - for composition, interaction, performances - or in the field of research for audio signals, for symbolic representations, or for data bases. The workshop is organised at the Manifeste Festival.

Supported by Singapore Tourism Board and Infocomm Development Authority of Singapore (IDA), Music Matters is the pioneer music industry event in the Asia Pacific region and is a gathering of key players in the global music industry, it is the annual meeting place of the entire value chain of the music business, from artists and mangers to record labels, promoters and music publishers.

In the past seven years, Music Matters has developed an excellent reputation in the market for delivering high quality agendas and facilitating unparalleled networking opportunities.

The programme covers the music industry's most pertinent issues covering topics such as the role of brand sponsors, the rise in Asian music festivals, developments in music publishing, launching digital services and detail country focused sessions including China, India, Japan and Korea and many more topics.

The first Music Tech Fest gathered the entire music technology ecosystem under one roof – from the big brands of the music and media industries, music tech startups and apps creators, to developers, researchers, artists, performers, creatives and hackers. The event was co-funded by MIReS in conjunction with Ravensbourne’s ERDF-funded Digital Media Innovation Consultancy and Business Incubator. Presentations, demos, installations, and performances from 52 contributors covered all aspects of music technology research and innovation within industry and academia.

The 3rd Interdisciplinary Conference in Flamenco Research (INFLA) and 2nd International Workshop on Folk Music Analysis (FMA). INFLA is an academic forum for flamenco research involving different disciplines and employing rigorous, wide-ranging methodologies. FMA gathers researchers who work in the area of folk music analysis with a special focus on computational models built from symbolic or audio data.

The 4th International Workshop on Advances in Music Information Research "The Web of Music". AdMIRe serves as a forum for theoretical and practical discussions of cutting edge research on Web technologies for music information research. Topics covered include Web mining for music information extraction, retrieval, and recommendation as well as mobile applications and services that make use of Web 2.0 technology.

The 21st World Wide Web Conference. The WWW is a yearly international conference on the topic of the future direction of the World Wide Web. It began in 1994 at CERN and is organized by the International World Wide Web Conferences Steering Committee (IW3C2). The Conference aims to provide the world a premier forum for discussion and debate about the evolution of the Web, the standardization of its associated technologies, and the impact of those technologies on society and culture. The conference brings together researchers, developers, users and commercial ventures—indeed all those who are passionate about the Web and what it has to offer. www2012 focuses on "openness" in web technologies, standards and practices, and will showcase the best of the region’s technology and culture.

The 37th IEEE International Conference on Acoustics, Speech, and Signal Processing. ICASSP is the world's largest and most comprehensive technical conference focused on signal processing and its applications. The conference features world-class speakers, tutorials, exhibits, and over 50 lecture and poster sessions.

The 6th International Conference on Tangible, Embedded, and Embodied Interaction. TEI is dedicated to presenting the latest results in tangible, embedded, and embodied interaction, addressing HCI issues, design, interactive art, user experience, tools and technologies, with a strong focus on how computing can bridge atoms and bits into cohesive interactive systems. The intimate size of this single-track conference provides a unique forum for exchanging ideas and presenting innovative work through talks, interactive exhibits, demos, hands-on studios, posters, art installations and performances.

Since 46 years, MIDEM is the yearly international b2b event dedicated to the new music ecosystem, with a tradeshow, conferences, competitions, networking events and live performances. It’s the place where music makers, cutting-edge technologies, brands & talents come together to enrich the passionate relationship between people & music, transform audience engagement & form new business connections.

The Networked Media Systems unit (INFSO D2) published a discussion document and launched a web-°©‐based public consultation on research and innovation challenges for FP7 WP2013. All interested sector actors were invited to identify key research themes and priorities for the upcoming call for proposals. Thirty-°©‐four individual contributions were received, which were broadly representative of the constituency of networked media researchers, although there was an under-°©‐representation of EU-°©‐12 member states in the consultation process and a lack of contributions made directly by users. A post-°©‐consultation workshop was held on 27 January 2012 where the written contributions were presented and discussed.

First CompMusic Workshop: "Computational Models for Music Information Research" was organized by CompMusic as a satellite event of FRSM 2012 with the aim to give an overview of the Music Information Research of relevance to Hindustani and Carnatic music.

The 8th FP7 Concertation Meeting in Brussels, Belgium aims to bring together the ongoing FP7 projects to facilitate exchange of results and achievements. The projects are organised in four clusters: 3D Immersive Interactive Media (3DIIM), Future Media Networks (FMN), Media Search (MS) and User Centric Media (UCM).

The 12th International Society for Music Information Retrieval Conference. ISMIR is a unique place for discussing ideas, results, and issues with the representatives of academia, industry, entertainment, and education, including researchers and developers, educators and librarians, and students and professional users.