Call for Papers
International Cross-Disciplinary Conference
Architecture | Music | Acoustics
June 8-10, 2006 (Abstracts due Oct 31, 2020)
In conjunction with the SoundaXis festival of music, acoustics and architecture, Ryerson University Department of Architectural Science is pleased to announce an international conference dedicated to a study of the same themes.
Among the critical fault-lines within architectural practice and discourse is that which privileges sight, conceiving of architecture as primarily a visual art form. Despite the multi-sensorial, embodied nature of our being in space, architectural discourse has been largely silent where senses other than the visual are impacted. This conference proposes to move outside the visual paradigm to investigate the relationships between architecture, music, and acoustics. These intermeshed relationships have tended to one extreme or the other: either sound is understood by architects instrumentally, as an element to be controlled if not eliminated, or music is understood by architects as a metaphorical structure needing to be translated to visual terms before becoming available to architecture. Indeed, one of the few works published in the last half-century on the relationship of architecture and music from within the architectural community is Pamphlet Architecture 16, edited by Elizabeth Martin, which takes as its title Architecture as a Translation of Music.
This conference sees itself as an updating of Martin's work, while starting from the premise that Architecture, Music, and Acoustics have real relationships not requiring translation between visual and sonic terms, and not limited by the instrumental. The conference will involve both historical and critical studies of these relationships, focusing on the strategies and techniques used by architects in dealing with sound and with ideas borrowed from music. The conference will encourage an active mode of engagement with sound in architectural design.
Those wishing to present papers at this conference should submit a brief abstract, of no more than 300 words, by October 31, 2005. Abstracts are to be submitted under one of the following session themes:
I. Acoustic Ecology:how can understanding the acoustic ecology of structured environments foster an auditive culture?
II. Situated Sonic Practices: how does the practice of sound installation art foster new understandings of both sound and place, as well as of the relationships between the two?
III. Spaces for Performance: how have recent developments in the acoustics of performance spaces affected our understanding of the relationships between sound and space?
IV. Intersections of Music and Architecture: how can the interweaving of architecture and music through creative collaborations result in an enrichment of both disciplines?
V. The Poetics of Closure: how can a consideration of sound affect the design of spaces and buildings not specifically intended for performance? Presentations of built work are encouraged in this session.
VI. Sound in Architectural Education: how can a consideration of sound be used to enrich the education of tomorrow's architects?
VII. The Architectural Representation of Sound: how can the predominately visual domain of architectural representation deal with sound? Presenters may approach any of the above topics historically, theoretically, or through the presentation of project work.
Presentations involving current built work are particularly encouraged. Final papers will be expected to have a maximum length suitable for a twenty-minute presentation (approx. 3000 words).
Proposals will also be accepted for those wishing to present installations at this conference. Proposals for installation work should be submitted under one of the above session themes, and include a written description of 300 words or less, along with appropriate graphic material. Please note that the organizing committee cannot provide financial assistance for the mounting of installations.
Further information about formatting of abstracts will be posted shortly on the conference website, http://ryerson.ca/arch/conference.htm, or by contacting the conference organizers at email@example.com.
Call for Papers, Call for Works
Live Algorithms for Music Annual Conference and Concert
Dec 19th-20th 2005, Goldsmiths College, London, UK
The EPSRC-funded Live Algorithms for Music network investigates the use of autonomous computers in creative performance. Our interest is in systems that run live algorithms, that is to say systems which collaborate actively with human performers - or other machines - in real-time performance, and can do so without the presence of a human operator. The requirement of a live algorithm is that it should participate in a performance just as a human might, making apt and creative contributions to the musical dimensions of sound, time and structure.
The network brings together performers, composers and scientists in the areas of cognition, artificial intelligence and computing.
We are pleased to announce that our special guest this meeting is Al Biles, Professor at Rochester Institute of Technology, New York. Al is a Live Algorithms pioneer, famous for his genetic algorithm jazz improviser, GenJam. Al will be talking to us about GenJam and evolutionary music, and performing with GenJam at the LAM concert.
We invite the submission of papers on any subject relevant to the aims of the LAM network.
Proposals for performance are also welcomed.
There will also be a session for short reports on ideas and work in progress.
Details of LAM at www.livealgorithms.org
Please contact Tim Blackwell (firstname.lastname@example.org) or Michael Young (email@example.com)
Call for Papers/Presentations
Two Thousand + SIX
A new international conference focusing on performance in technology mediated environments
This new conference will kick off as part of the 2006 Sonorities Festival of Contemporary Music (www.sonorities.org.uk), hosted at the Sonic Arts Research Center, Queen’s University Belfast (www.sarc.qub.ac.uk). The festival is the longest-running new music festival in Ireland that presents cutting-edge new music and features some of the most thought-provoking and controversial musicians.
The "mini-conference" aims to reflect the innovative approach of the festival and will, for the first time, bring together performance practitioners (from music, dance, theatre and new media), composers, and theorists in order to discuss a wide variety of topics on performances that are informed by new technologies.
The "mini-conference" is planned for Saturday, the 29th of April 2006 at SARC in Belfast. Paper sessions will take place in the morning and the afternoon, with two keynote speakers, a lunchtime performance and an evening concert.
Susan Broadhurst Sue is a writer and practitioner in the creative arts. She is currently Subject Leader of Drama Studies at Brunel University. She is the author of " Liminal Acts: A Critical Overview of Contemporary Performance and Theory" (1999); "Digital Practices: A Critical Overview and Neuroesthetic Approach to Performance and Technology (forthcoming, 2005), and "Performance and Technology: Practices of Virtual Embodiment and Interactivity (forthcoming, 2006). Sue is also co-editor of the Body, Space & Technology online journal.
Ben Watson. Wire contributor, Trotskyist and Zappaphile, Watson has written extensively on themes such as pop culture, situationism, punk, Adorno, Frank Zappa and improvisation. He is the author of "The Negative Dialectics of Poodle Play", “Derek Bailey and the Story of Improvisation”, and “Art, Class and Cleavage”.
Call for papers/presentations:
For this one-day conference we invite proposals for papers that reflect on performance and technology. As this is a short event, a maximum of 16 papers of 20 minutes duration (plus question time) will be accepted.
Abstracts (max. 350 words) are due by the 15th of December 2005.
Presenters of accepted papers/presentations will be informed by the 15th of January 2006. The registration for the one-day event will be £40 (£15 unwaged). This includes free access to all Sonorities Festival events on the 29th April 2006.
All accepted papers will be published online.
Further information on the conference will be posted in December 2005 on the SARC website: www.sarc.qub.ac.uk
Submissions and all queries should be directed to:
Call for Submissions
discparc’s 3rd release – dp003 ‘sound art project’
Planned release March 2006 - format CD + 32 pp fanzine
Limited Edition 1000 x CD with 32-page fanzine publication 12 Audio Artists - 6 Scottish, 6 Toronto
With our third release we are searching the audio art world, seeking the unique, challenging and experimental. It is open for artists working with sound, living in Toronto or Scotland. This project will be seen as an exchange of cultures with no clear allegiance to an ideology, genre or constraints. From the outset it is a chance to see what could develop between the two countries. Artists working in all areas of audio art and any style are encouraged to submit proposals as it is envisaged that this project will be an eclectic illustration of the soundscape being currently created in the two countries.
A team of Toronto based artists/curators and discparc’s curatorial team will form the project selection panel. The Toronto based team selecting the Scottish artists and vice versa. Each panel will have creative input and via conversation bring the project together to develop its curation and theme.
dp003 will be released as a CD and will be accompanied by a 32-page
fanzine; selected artist will be invited to contribute to the zine, which will be seen as a supporting publication of image and text, along with an evening event to celebrate the release.
How to submit your proposal:
Artists have to be either a resident, based in, working in, or originally from Toronto (including the greater Toronto area) or Scotland. [A maximum of 2 tracks per artist, each between 20 seconds and 8 minutes in length.]
Send a CD-R containing the following files: Your audio track(s) in .wav or AIFF format, 16bit, 44.1khz in either mono or stereo.
-A text document stating your name, contact details (email and mailing address), track title, track length, and a declaration that your track does not infringe any copyrights or use any unlicensed
-A text document with your Bio, CV and the intention behind your current practice, and any other supporting documentation or visuals. (Please do not send originals, as submission material cannot be returned)
No payment can be offered for submissions but the selected artists
will be appropriately accredited and receive 20 copies of the release
Deadline: 31 October 2020
The ‘discparc’ label has been created to disseminate original
recordings by dedicated audio artists at any stage of their career.
Presenting releases of schizophonic art, Electro-acoustic, Noise,
Experimental Music and Sound Art on all audio distribution forms
including vinyl, CD, cassette and on-line. ‘discparc’ is a resource
and support for emerging to established audio artists. We look for
artists who present unique and challenging work and who will actively
persevere with us in the development and production of a project.
Created and managed by University of Dundee Exhibitions Department, a
department within the Faculty of Duncan of Jordanstone College of Art & Design, a Faculty of University of Dundee.
For more information www.exhibitions.dundee.ac.uk
To mail your submission:
University of Dundee Exhibitions Department,
Duncan of Jordanstone College of Art & Design
13 Perth Road, Dundee DD1 4HT
T 44 (0) 1382 345330,
F 44 (0) 1382 345192
SPNM Call for Works 2005
Deadline: 27 January 2021
This is the UK’s most inclusive call for new music. You can be ANY AGE. Your music can be of ANY DURATION, written in ANY STYLE, in ANY GENRE and for ANY FORCES AND MEDIA.
spnm’s annual call for works finds the best new music in the country each year. It is open to anyone who is composing new music, of any age, based in the UK or Ireland. From the anonymous submissions a panel from a broad range of musical backgrounds selects 30 composers to join the spnm shortlist. Over the next three years spnm then offers these composers opportunities to have performances of their work, participate in training and professional development and receive promotion from spnm for them and their work.
Whether your work is for western or non-western acoustic instruments, an electronic piece or an installation, electroacoustic or improvised, if your work is new and taking the form and its audience forward, you should apply for this call.
For more information and to download an application form, visit http://www.spnm.org.uk/activities/callForWorks.html
Call for Works
Fifth Annual International Women’s
Electro-Acoustic Listening Room Project
Cal State Fullerton
Voices on the Edge:
Women in New Music Festival
March 9th-12th, 2006
Concerts, Listening Room, Lectures, Master Classes, Workshops featuring
PAMELA Z, voice and electronics
ETHEL, string quartet
CHEN YI, composer in residence,
and other guest composers, performers, scholars
International Women’s Electroacoustic Listening Room Project:
The Women in New Music Festival features day-long playback of works by women in electroacoustic music During the 8 hours of the electro-acoustic listening room the listener’s mind is immersed in the sounds of diverse compositional voices of women composers in electroacoustic music from over 20 different countries from around the globe. The Women’s Electroacoustic Listening Room strives to present a diverse sampling of different approaches to electronic music, with examples from classical computer music, environmental music, and meditative music to works that expand acoustic virtuosity and improvisation with virtual instruments to sonic documentaries that capture the inner workings of the mind: horror, humour and the unfolding of human dramas. This year the Women’s Electroacoustic Listening Room focuses on VOICES ON THE EDGE and will also go ON THE ROAD and be presented at various venues throughout the United States and Europe.
Submit your proposed electronic/electro-acoustic work for inclusion in the listening room event: Voices on the Edge. Maximum length 12 minutes. Please include: CD of proposed work, submission information: length of work, name of composer, contact information, program notes and short bio to address below. Also send all submission information by email to firstname.lastname@example.org
Dr. Pamela Madsen
California State University, Fullerton
P.O. Box 6850
Fullerton, CA 92834-6850
Postmark Deadline: January 15th, 2006
For more information contact: email@example.com
EACH MARCH A WOMEN IN NEW MUSIC FESTIVAL
is presented at CAL STATE FULLERTON
- 2002, HYSTERIA EMBODIED: Form and Feminine Voice, Hysteria Embodied, with members of Zeitgeist Ensemble in residence, featuring works of Pamela Madsen
- 2003, TRANSFORMING VOICES: The First Women’s Listening Room Event with non-stop playback of electro-acoustic works and lectures by guest women composers: Julie Adler, Madelyne Byrne, Renee Coulombe, Jennifer Logan,. Hundreds of CDs and materials were sent in and archived for this international resource on women in music: International Women’s Electro-Acoustic Listening Room Project.
- 2004, HEARING VOICES: Enlistening the Future in conjunction with the Envisioning the Future Project with artist Judy Chicago, featured an extended day-long electro-acoustic listening room and evening performance of WE ARE ALL SIBYLS, Electroacoustic Opera/Installation by Pamela Madsen with works by guest composer/performer from Amsterdam: Anne LaBerge, flute and electronics and many other guest women composers/performers
- 2005, MERGING VOICES: celebration of diversity in women composers, the festival featured performances, lectures, masterclasses and workshops by diverse women composers, with works for orchestra and chamber music ensembles. Pauline Oliveros and Joan Tower, guest composers in residence; Diametric and eighth blackbird, guest ensembles in residence and over 100 new works in electroacoustic music from women around the globe.
- 2006, VOICES ON THE EDGE: reaches out to women composers from all over the world to bring new electroacoustic works from diverse edges of the world together in a celebration of Crossing Cultures, with Listening Room, Concerts, Master Classes and Workshops with performer/composer Pamela Z, voice and electronics; ETHEL, string quartet and guest composer Chen Yi in residence.