CALL FOR WORK
SONIC ARTS NETWORK PRESENTS EXPO
THE ANNUAL SAN EXPOSITION
23-26 JUNE 2006
In conjunction with University of Manchester and Cornerhouse
Expo is an opportunity to experience the work of the best UK sonic art practitioners, to meet, listen and respond. After the success of last year’s highly eclectic event in Scarborough the focus now shifts to Manchester. Preparation is underway for another packed weekend of sonic art and electronic music from UK artists and a choice selection of international guests. This weekend of performance, exhibition and presentation will take place across a variety of public venues in Manchester including concert halls, gallery spaces, bars, nightclubs and an historic architectural space. The weekend aims to highlight the broadest possible range of approaches and thinking that surround the sonic arts. We welcome submissions of all kinds.
There is no charge for the submission or acceptance of work, and indeed, entry to the festival will continue to be free to all members of the public. We do ask that selected artists attend the event. This call is open to all UK based practitioners and all international members of Sonic Arts Network.
Call for Works, Papers and Commission Proposals
Submissions are sought in all forms of sonic art including real-time interactive works, improvisation with technology, experimental electronica, instrumental/electroacoustic mixes, acousmatic music, sound installations, environmental sound work, performances, internet-based creative work, sound and image works and cross-arts work. We welcome submissions of all kinds of work incorporating sound.
Submitted works must have been created after January 2005.
Some resources are limited and, for example, performers must be supplied by submitting artists.
Available equipment for this year’s festival will include: a multi-channel sound diffusion system catering for projection of stereo and multi-channel works (hard disk) and smaller, adaptable stereo systems suitable for installation work, Macintosh G5 (dual processing) and iMac G4 computers (OSX) with Digi 002 and MOTU 828 Firewire (mark two) audio interfaces. Video projection facilities are also available.
Central to this year’s programme will be a day of sound art at The Manchester Victoria Baths on Sunday 25 June. The faded grandeur of this Edwardian ‘water place’ lead to the building winning BBC 2’s 2003 Restoration series and is one of the few surviving municipal buildings of its type in the UK. We are seeking submissions of both performance and installation work that will complement this remarkable historical space and will be suited to its reverberant acoustic. Those interested in submitting should also visit www.victoriabaths.org.uk (explore the Victoria Baths Community Archive through the ‘links’ sections of their site) to see more photos and get information about the building, its history and the people who have used it over the years. Sonic Arts Network will make a limited amount of assistance funding available for selected works where deemed necessary for staging. Please include a budget with your submission.
Research Papers Submissions
Image – Action – Sound
The final day of Expo will be given over to papers and research presentations and we encourage submissions orbiting the following ideas:
_the interpretation of text and image (graphic scores for example) in electronic music and sound art
_performer interfaces and their aesthetic and technical ramifications
_the relationships between composition and improvisation in current electronic music performance trends
_the role of the composer in interactive and ‘non-intentional’ work (for example various forms of soundscape and documentary based work)
_cross media relationships in live AV, sonic improvisation alongside fixed media such as film
The guest speaker on this day of research presentations will be Joseph Byrd. Byrd studied with both Morton Feldman and John Cage and became involved in New York Fluxus in the 1960s. His graphic scores have been published by La Monte Young in his ‘Anthology’ and Cage in his ‘Notations’. In the late 60s he was a founder member of the experimental rock group The United States of America and he is a scholar of music in American cultural history. Joseph Byrd is collaborating with the British sound art group Dreams of Tall Buildings and the Norwegian noise improvisation group Spunk on a new Sonic Arts Network commission to be premiered at Expo.
Submitted presentations may take the form of written papers or discussions of creative, research or practical work (including work in progress). Presenters should plan for 20 minutes presentation time and a further 10 minutes discussion time will be allowed.
Submissions of papers and works should include:
_ Title of work/paper
_ Name of author(s)
_ Contact details (name, address, telephone/fax, email, URL)
_ Brief bio (150 words max.)
_Programme notes, if applicable (max 150 words)
_ Description of artistic concept (250 words max.)/Abstract summary of paper (500 words max.)
_ For artistic submissions, the role of technology in realisation of work (100 words max.)
_ Technical resources required for presentation (specifying those that can be supplied by the artist in the case of artistic submissions)
_ For artistic submissions an audio/video example of work (CD or link to www site)
*Please note, we require the written information to be emailed to Richard Whitelaw at firstname.lastname@example.org and clearly labelled hardcopy of examples of work to be sent to:
Sonic Arts Network
The Jerwood Space
171 Union St
Deadline for proposals: 16 January 2021
In addition to our call for existing works, we are once again pleased to offer a festival commission for the creation of new work. This piece will be a sound installation to be premiered at Cornerhouse, Greater Manchester’s international centre for contemporary art and film (www.cornerhouse.org). This new work will run from 23 June – 30 July 2020 and will be on view in Gallery 1 during regular gallery hours. Sonic Arts Network and Cornerhouse will work in partnership to select from submitted commission proposals and to assist in the presentation of the new piece. Proposals for work are invited from British artists, artists living and working in the UK or international members of Sonic Arts Network. A total budget of £4000 will be made available for the delivery of the selected work. This will breakdown as £1000 artist fee and up to £3000 production costs. Production costs should also include any special equipment required for the installation. Those considering applying for this commission should see the plan of Gallery 1 at Cornerhouse which available at the Sonic Arts Network website.
Commission proposals should include:
_ Title of work
_ Your name
_ Your contact details (name, address, telephone/fax, email, URL)
_ A brief biography (150 words max.)
_ Audio/video example of your previous work (or link to www site)
_ A Description of the artistic concept to be commissioned (500 words max.)
_ The technical resources required for the presentation (specifying those which will be supplied by the artist)
_ A simple budget specifying your fee, the production, materials and presentation costs
_ The time-scale strategy for the creation and completion of the work
*Please note, we require the written information to be emailed to email@example.com and clearly labelled hardcopy examples of work to be sent to:
Sonic Arts Network
The Jerwood Space
171 Union St
Commission proposals should be clearly labelled and reach the Sonic Arts Network office by 16 January 2021
SOUND PRACTICE 2006
Organised by UK & Ireland Soundscape Community and the Music Department,
Dates: 11th & 12th February 2006
Location: Goldsmiths College, University of London
Deadline for proposals: EXTENDED DEADLINE ** 13th January 2006**
The UK & Ireland Soundscape Community (a regional branch of the World Forum for Acoustic Ecology) was launched in 2001 with a major international conference at Dartington Hall (Sound Practice: the 1st UKISC conference on sound, culture and environments). The objectives of the conference were: to nurture our understanding and awareness of the soundscape; to report on past, current and future soundscapes; to advance the emerging interdiscipline of soundscape studies. Since then the scene has developed dramatically, and with wide ranging new initiatives and directives, yet with arguably limited scope, soundscape issues are now more firmly on the map than ever.
SOUND PRACTICE 2006 provides an opportunity to take stock and reflect on many of the activities that have shaped the scene over the past 5 years. It will also provide a forum in which to discuss the future of soundscape studies and pool new approaches and practices.
Invitation to submit proposals:
Proposals pertinent to the above topics are welcomed from a variety of
presentation formats: academic papers, workshops, posters, sound walks,
electroacoustic and acoustic compositions, multi-media presentations, live-art performances, panel discussions, installations, exhibitions, soundscape study reports, demonstrations of emerging technologies.
All submissions must include -
Institutional Affiliation (if applicable):
Web Page (if applicable):
Title of Presentation:
Programme Notes or Abstract (200 words max):
Short Biography (200 words max):
Please include DAT, DA98, CD, video, score and other relevant forms of
documentation of proposed presentation. All materials received will be put
into the UKISC archive. All participants are expected to attend the
conference. Submission of work by students is particularly encouraged.
Entrance to all events will be free.
Any enquires please contact: firstname.lastname@example.org
Deadline for submissions of proposals: 9th January 2006 (post marked)
Send Proposals and Submissions to:
SOUND PRACTICE 2006
c/o Dr John Levack Drever
New Cross, London
Call for Work - CFP: Synoptique Sound Edition
Synoptique, an online journal of film and film studies (www.synoptique.ca), is seeking short written contributions for an upcoming edition on sound in the cinema and beyond. As guest editor I invite you to tell us what would make the world of audio-visual art a better place. We are particularly interested in comments on audio-visual art outside of the cinema.
The Visual Music exhibition, currently showing in the US, documents a century's worth of experimentation with the pairing of sound and image. It thus seems like an appropriate time to ask ourselves the following questions: What do we expect from sound/image relationships in the audio-visual arts, and are these expectations being met? Have any of the audio-visual arts, whether cinema, site-specific installation, live performance, etc., truly reached their inherent potential to present sound and image as symbiotic entities? Is symbiosis even the right way to think about the pairing of sound and image in the arts?
If you're like me then you have your share of frustrations with the lack of audio-visual balance found in most art based on the co-existence of sound and image. So much of the world's cinema continues to treat sound as a necessary afterthought to the image. Meanwhile, laptop music performers are throwing visuals up on screen with increasing regularity, but only rarely with any real thought about how the seen relates to the heard. And if you're like me, you probably also have your short list of favorites in the audio-visual arts to which you hold everything else up for comparison. Perhaps a film such as "In Absentia" by the Brothers Quay and Karlheinz Stockhausen stands out as a model for audiovisual symbiosis in the cinema. Beyond the borders of the fixed frame, perhaps the collaborations of Janet Cardiff and George Bures Miller explore the seams of the audio-visual envelope just waiting for the right time to burst.
Here is your chance to weigh in. Tell us what you love, and what you hate, about trends in audio-visual art both past and present. Share with us what you think the pairing of sound and image needs in order to meet the expectations that so many of us have for audio-visual media. We're seeking contributions of 250 - 500 words for a forum that will head-off a special section of the edition dedicated to audio-visual art outside of the cinema. We will publish a selection that reflects the diversity of the works received.
Submissions are due by January 15th 2006 and should be directed to:
Include a bio of 50 to 100 words.
Visit the following page for an example of a previous forum we conducted
in memory of Susan Sontag:
Call for Works
Centre for Digital Arts and Experimental Media
Meany Hall, University of Washington, Seattle
April 12th, 2006 7:30pm
The Centre for Digital Arts and Experimental Media (DXARTS) at the University of Washington, Seattle announces a call for experimental works appropriate to a large proscenium theatre setting, including electroacoustic music, digital video and real-time electronic works. Works for new and experimental media other then traditional sound and video that are appropriate for a concert presentation will also be considered. Artists are invited to submit up to two works for inclusion in the DXARTS concert on April 12th, 2006. Works will be presented with a state of the art 12.6 3-D sound system and large venue digital cinema HD projection system.
Submission guidelines: Please send two copies (according to format below) and a submission form for each work to:
University of Washington
Seattle, WA 98195
Call for work
SIGGRAPH 2006 is looking for small-scale electronically mediated performances for the SIGGRAPH 2006 conference in Boston in July. We are interested in work that uses technology to creatively stimulate and enhance the performance. We would like to see works that provoke thought, amuse, amaze or emotionally move the audience.
Because SIGGRAPH 2006 does not have a professional stage in a theatre, we are looking for small-scale dance, music, theatrical, performance art and/or hybrid works that can work with a black-box type of space in a major corridor at SIGGRAPH 2006.
If you are involved in electronically mediated performance or you know of any performances or performers that work with technology in a creative/innovative way, please send me their/your contact information and a URL if available. The goal is to try to give cutting-edge performers an opportunity to showcase their work to the diverse computer graphics community and the public. There is sure to be plenty of media coverage and the ability to make important connections throughout the conference.
SIGGRAPH 06 Art Show Chair
"Intersections", Boston, MA USA
July 30 - August 3
Call for Participation: International Computer Music Conference 2006
Tulane University and the Newcomb Department of Music are proud to
announce the open call for submissions to the ICMC 2006. The conference will be held on the Tulane University campus in beautiful New Orleans, Louisiana, USA from November 6 - 11, 2006 and will be a historic collaboration between ICMA and SEAMUS (Society of Electro Acoustic Music in the US). The nature of the collaboration is part of a larger theme of the 2006 ICMC conference - “multidimensionality.”
It is our hope to represent the multidimensional and multi-faceted field
of computer music today through concerts, installations, paper sessions,
poster sessions, demonstrations, workshops, and exhibitions as well as
many other special events and many giveaways and prizes.
Hurricane Katrina and Rita have brought much destruction to New Orleans but we are eager to move forward and excited about the future of New Orleans and hope that you will be part of this great conference and
great city! Laissez les bon temps roulez!
Tae Hong Park
ICMC 2006 Conference Chair
Please visit www.icmc2006.org for details
Call for submissions
Proposals are invited for presentation at the
2006 Subtle Technologies Symposium
June 1st - June 4th, 2006 Toronto, Canada
DEADLINE: January 31st, 2006
Subtle Technologies is a four-day multidisciplinary event exploring complex and subtle relationships between art and science. Subtle Technologies' mandate is to blur the boundaries between art and science. The annual event combines symposia, exhibitions and performances that juxtapose cutting-edge artistic projects and scientific exploration.
This year's theme for Subtle Technologies is Responsive Architectures. We are interested in investigating how environments and systems can interact and respond to their occupants. We hope for wide-ranging discussions and presentations that explore dynamic systems and environments at every scale, from molecules to continents. Extraordinary new qualities are emerging in the 'responsive' systems that are rapidly being integrated throughout our world, exploiting leaps in technology. This transformation creates critical questions as our capacity to change the world grows, for good and for ill.
The symposium encourages a wide definition of architecture that encompasses buildings, mechanical and natural environments. Three kinds of submissions are especially invited. Scientists are invited to contribute current research that relates to the topic. Artists, architects, designers and performers are invited to contribute their ongoing creative work. Writers are invited to contribute discussions of philosophy, history and theory. A range of approaches are welcome including interdisciplinary work that combines these approaches, specialized presentation proposals that focus on a single topic in depth, and general discussions that draw upon multiple topics. To complement the Toronto-wide SoundaXis <http://www.soundaxis.ca/> festival occurring in parallel with Subtle Technologies, sound and acoustics will be a special focus.
Examples of possible topics include:
Buildings that can move and transform
Complex systems analysis
Resonance and spatial acoustics
Physics of sound
Presentation and Publication
Selected proposals will be invited to present either an illustrated talk followed by questions and discussion with the audience, or to submit a poster for exhibition at the Symposium. Presenters will be published in an illustrated book of proceedings that accompanies the event.
How to Apply
Use our online submission form:
Deadline for Proposals
January 31, 2021
A panel of curators that include science and art specialists drawn from practicing and academic backgrounds will judge submissions. Selections will be judged for quality and relevance to the theme. Selection will occur early February and results will be communicated by late February 2006. Selected presentations will be asked for images and text early April 2006 for publication.
Presentations typically last 40 minutes, followed by a ten to fifteen minute discussion period where moderators and audience interact with the presenter. Presentations should be designed for a public audience with varied interests. We encourage physical demonstrations and can accommodate a wide variety of formats. Technical support and equipment will be arranged to suit.
The 2006 symposium is being held in partnership with SoundaXis <http://www.soundaxis.ca/>, a Toronto-wide festival inspired by the work of renowned architect-composer Iannis Xenakis. The programs for Subtle Technologies will complement the numerous events planned for SoundaXis. Participating institutions include Ryerson University , University of Waterloo , University of Toronto , Perimeter Institute for Physics, and The Fields Institute for Mathematics.
Summaries of past presentations are archived on our website. We encourage those interested in submitting a proposal to acquaint themselves with our history of programming.
Please contact <email@example.com>
Call for work
The deadline for music submission for the LAC 2006 - 4th International
Linux Audio Conference (27-30.04.06 at ZKM Karlsruhe, Germany) has
been extended to Sunday 12 February 2006.
We invite submission of music that has been produced completely or
mostly under Linux and/ or with open source software:
* "Serious" compositions, to be played in a concert-like context
* Electronica, Chill-Out, Ambient etc., to be played in a less formal, "party-like" context.
Please refer to the LAC2006 website for submission details: www.zkm.de/lac