Call for Audio Artists/Musicians
Vague Terrain 04: the Body Digital
Context:
In his 1964 text "Understanding Media" media theorist & future-caster
Marshall McLuhan stated that electricity was an extension of the nervous
system. The next issue of Vague Terrain is dedicated to continuing this
line of thought and exploring both the interface and friction between
contemporary digital technology and the body. Vague Terrain 04: the
body digital will serve as a catalog of new conceptions of the
intersection between the physical and digital realms, one in which the
body is read as a dataset, instrument, and host to new economies and
discourses.
The Call:
Vagueterrain.net's fourth issue will be entitled "the body digital" and
we are currently seeking the work of audio artists and musicians whose
work deals with the interface between the body and contemporary
technology to showcase in this issue. Vague Terrain 04: the body
digital will be published online in early September 2006 so work would
need to be submitted by mid August. Vague Terrain audio submissions
generally consist of 30-40 minutes of original sound/music which is
distributed through our publication via an author sanctioned creative
commons license.
Please see http://www.vagueterrain.net for more information about the
scope of our publication.
If you are interested in contacting us regarding submitting audio work
to this issue, or have any questions please contact us ONLY via submit@vagueterrain.net regarding your submission.
Call for Proposals Expanding the Space: Enlarging the Frontiers of the Earth
Octubre Centre de Cultura Contemporania
3-6 October 2006, Valencia, Spain
The Expanding the Space conference is organized by the Octubre Centre
de Cultura Contemporania, in collaboration with Leonardo/OLATS, and
the International Academy of Astronautics, to coincide with the 57th
International Astronautical Congress that will take place in Valencia,
Spain in October 2006.
Expanding the Space is conceived as an open forum for individuals,
connoisseur or not, to meet and to learn about the latest scientific
issues, with the intention of making them accessible to the general
public. The conference will provide a singular location for those scientists interested in the intersection of science and art, to
gather, display and catalyze all the artistic works born under this
sign and inspired by space.
The topics that will be addressed are:
1.Humankind in front of the mirror. A perspective of our own planet
thanks to space missions. Cultural impact.
2. Climatic change. Its effects seen from outside.
3. Microgravity: the sensory experience of weightlessness.
4. Colonialism vs. exploration. Are space missions a new kind of
colonialism?
5. The control of terrestrial biologics in the preparation for space
missions.
Expanding the Space encourages people from all over the world to take
part either in the conference and/or video exhibition.
The proposal must relate to one of the five defined topics: humankind
in front of the mirror, climatic change, microgravity, colonialism vs.
exploration and the control of terrestrial biologics in the
preparation for space missions.
Proposals will be examined and selected by an Advisory Committee. This
committee will be formed by experts including: Fernando J.
Ballesteros, from the Astronomical Observatory of the University of
Valencia, Martí Domínguez, editor of the magazine Mètode, Julien
Knebusch, from Leonardo/OLATS, Seth Shostak, astrobiologist from the
SETI Institute, Bernard Foing, scientist-in-chief of the ESA, Salomé
Cuesta from the Laboratorio de la Luz of the Polytechnic University of
Valencia, Jean-Luc Soret, curator of the @rt Outsiders International
Festival and Laura Borràs, from the Universitat Oberta de Catalunya
and the members of the organizing committee: Josep Perello,
physicist, University of Barcelona; Emili Paya, OCCC; Annick Bureaud,
Leonardo/OLATS and Roger Malina, astronomer and Executive Editor of
Leonardo journal.
To submit your proposal for the conference and/or the audiovisual
exhibition, please fill the online form at <www.expandingthespace.net>
Deadline for proposals: June 30, 2020
Notification of acceptance : First week of July
Deadline for papers : first day of the conference (October 3, 2020)
The papers will be published on the Leonardo/OLATS web site <www.olats.org>.
Technical Equipment: The organization will provide any technical
equipment required such as desktop and laptop computers, screens, DVD
players, slide projectors, etc.
Travel and accommodation expenses are the responsibility of each
participant.
Call for Proposals Artists for The Wormhole Saloon IV at The Whitechapel Gallery
(London)
The Wormhole Saloon IV is happening at the Whitechapel Art Gallery on the 1st of September 2006. It is a multidisciplinary art event and is looking to present:
- Surround sound work (4 channel audio)
- Installations (Not photographic or paintings)
- Live performance/soundtrack to film/visuals
- Video art
- or ... surprise with an idea
Deadline is the 24th of July 2006.
Send proposals via email to Joel Cahen
newtoy_productions@yahoo.co.uk
or post material to
Joel Cahen
The Wormhole Saloon IV,
211 Dalston Lane,
London E8 1HL
Turn up at The Wormhole Saloon III on this friday 23rd June 7pm - 11pm to get an idea of the space and to see what the event is like.
more info on http://www.newtoy.org/wormhole.swf
elektraMusic call for works CD 2006
For the second year, elektraMusic will publish at the end of the year a new CD (electroacoustic music volume 02). Composers are invited to submit one or more work to be included in this compilation. (see "rules" below).
elektraMusic will also publish at the same time a new book (elektramusic issue 02...indeed) and is also looking for texts or articles about experimental/electroacoustic musics or other "arts subjects" (music and video, dance and music). people who want submit a text are invited to contact us by email at: elektra@elektramusic.com
elektramusic CD submission :
- Participation in this project is open to composers of any nationality, aged from 18 minimum at the time of submission.
- The composers can submit one, two or three (max.) work(s).
- Works in collaboration (two composers or more) are also accepted.
- Submitted works mustn't have been awarded yet (music prize, competition, grant, commission, recorded on commercial CD,...).
- Submitted works can be electroacoustic only music (music "for tape", acousmatic music,...), mixed music (music for instrument(s) and electronic), or electroacoustic music for dance, video, multimedia..
Composers willing to participate are asked to :
- submit their music on an audio CD or DVD (multitrack works must be submitted in stereophonic version). The CD/DVD will be easily identified and will include the composer's first name and name as well as the exact title and its duration.
- print, fill in and sign the submission form (download here <http://www.elektramusic.com/images/submission.pdf> ).
- include a short composer's biography and program notes.
- Please send your submission by snail mail before 1 October 2020
Spatialisation competition "space of sound" Interpretation of acousmatic works
Acousmatic
Recorded work composed in studio, projected over loudspeakers in
concert, without live intervention of other sound sources.
The interpretation of acousmatic works through spatialisation involves sound-projection and diffusion through a reduced system of loudspeakers deployed within a specific space. The "musiques & recherches" acousmonium consists of 60 loudspeakers and an analog console that can send out up to 40 channels. In this competition, spatialization is done "manually", that is, free of any digital-technology automated storing and programming spatialisation system. The interpreters themselves control and play the console during the competition, so, their presence is absolutely essential.
The competition is open to the public and will take place from October 20 to 22, 2006 as part of the 13rd international acousmatic festival "the
Space of Sound" at the Marni Theatre in Brussels.
The registration form and other required documents as indicated in the competition guidelines must be sent to "musiques & recherches" by mail, postmarked before July 9, 2006.
There is no registration fee.
Each candidate will be required to present four works as follows:
- one imposed piece
- two works selected the day before the performance, from the list of "classical repertory" which candidates will be sent upon completion of registration
- one work of the candidates' choice (personal compositions are not
recommended).
Maximum duration of each work is 15 minutes. Prizes are awarded on the last day of the festival, October 22, 2004. Competition guidelines and registration form are available upon request from the office of "musiques & recherches" (telephone:: +32.2.354.43.68. Email: info@musiques-recherches.org) or can be downloaded from the "musiques & recherches" website: http://www.musiques-recherches.be/
Competition guidelines
1. This competition is open to anyone who has enrolled by post, postmarked before July 9, 2006. There is no enrolment fee. Participants must send in the fully-completed application form attached below, and include a personal photo, the title of the piece of the participant's choice, the composer's name, as well as notes about the piece.
2. Following registration, participants will receive the list of "classical" works from which will be drawn at random those they will be required to perform. They will also receive a compulsory piece determined by the members of the pre-selection jury of the "metamorphoses" composition competition.
Each participant must send a graphic transcription of the compulsory
piece to "musiques & recherches", postmarked no later than September
15, 2006. The quality of this transcription will be taken into serious consideration in the pre-selection process.
3. From October 20 to 22, 2006, a maximum of 8 finalists will present
the following:
- two works selected at random from the "classical repertory" list
- a compulsory piece to be determined by the members of the "métamorphoses" competition's pre-selection jury
- a work of the candidates' choice
4. Candidates are expected to prepare all works from the "classical
repertory" list. The title of the works drawn at random from this list will be communicated to candidates the day before their performance.
5. The maximum time allotted to the performance of each work is 15
minutes. Rehearsal time will be arranged for each participant, who will also have access to a stereo listening station.
6. The competition is open to the public. It forms part of the 13rd international acousmatic festival "the space of sound" and will take
place from October 20 to 22, 2006, in Brussels.
7. Prizes will be awarded at the end of the festival, October 22, 2020
8. The jury's decisions are final and without appeal.
9. The organizer cannot cover participants' travel and / or accommodation expenses, but would be pleased to supply accommodation, information upon request.
Participants will have free access to all festival activities.
Prize:
First prize: 2500 euros
Second prize: a gift certificate for audio equipment, supplied by a sponsor.
"Musiques & Recherches" will offer a candidate of its choice a residency in the form of a performance at a future concert or festival.
Mid-Autumn Harvest Moon Festival / Conference Concordia University
Montreal, Québec, Canada
September 20 - 22, 2006
- Five concert-presentations of multi-channel and special electroacoustic creativity
- 10-channel Butterfly Installation Instrument
- Conference / Paper Sessions / Roundtables: Subject: Curricular Design for Electroacoustic Studies
Preliminary deadline: August 01, 2020
A time of meeting of an ongoing international discussion of matters
of greater and lesser importance to the electroacoustic community,
focusing on practitioners, thinkers and others.
http://cec.concordia.ca/econtact/Harvest_Moon/index.html
http://cec.concordia.ca/econtact/8_3/index.html
Papers, presenters and roundtable participants are invited to submit resumés, proposal and statements of interest on the theme of the conference: Curricular Design for Electroacoustic Studies
Premises:
Electroacoustic Studies is a discipline which encompasses the physical world (metrics) perceptual, psychoacoustic and cultural / creative / critical worlds of sound from a loudspeaker.
Education for practitioners in ea requires a core, fundamental knowledge of the entire basis, and an organization of material and ideas found in the more focused sub-disciplinary regions.
Structure:
Roundtables / panel discussions will focus on a number of the following topics:
(1) Training the inner and outer ear; philosophies, materials and methods (coordinator Eldad Tsabary)
(2)What to think about it all; thoughts on aesthetics, culture and criticism within the curriculum (coordinator Kathy Kennedy)
(3) Music theory; what kinds and how much, and the integration of theory and practice (tba)
(4) Perception, psychoacoustics and the impact of sound on society; how much does the engineer have to know? (tentative Warren Spicer)
(5) Cross-modal and media applications; visuals, movement, installations, performance art central or secondary (tentative Ian Chuprun)
(6) Technical considerations; standards and norms for facilities and equipment (coordinator Mark Corwin)
(7) Putting it into practice; the junction of practical training and thought (tba)
(8) Exchange and agreement; the next steps of putting it all together
(tentative Kevin Austin)
Technical Demonstrations
A Call for demonstrations of a technical nature on a multi-speaker
system in a concert hall situation.
Call for Concert Works
Expanding the Range
- Multi-channel: Multi-channel works from 3.1 to 16.2 are invited for
consideration. Preferences will be given to those built around the
model of the loudspeaker as a point source , rather than as a matrix mapping .
Three other categories of concert works are also invited:
The Phil Spector, back to mono. Pieces in one channel, to be played
back through a front-centre speaker (1.1)
Git down: pieces for a .1 system, subwoofer only. No frequencies
above 110 Hz.
Pianissimo highs (for bats only): Works for 8-channels (point source preferred), duration of under 4 minutes, with no signals below 2 kHz, to be played back pianissimo in the concert hall
Installation
Butterfly Installation Instrument: A 10.2 system for installations, live electronics, laptops etc, in an open public space. Unless the composer can supervise, the work should be an autonomous, self-operating system. (Coordinated by Timothy Sutton, Philip Karneef, Joshua Zubot)
Spreading the word, keeping the sounds:
Concerts, discussions and presentations will be webcast (Mark Corwin coordinator), and published in eContact (Yves Gigon and jef chippewa Coordinators)
Technical:
Concerts: 5:00 and 8:00
Butterfly: every day
Technical presentations (in the hall) mid-late afternoon
Roundtables: morning and early afternoon
Generalized Call for Works -- pages in progress. Audio files in formats from 16/44.1 to 24/96, and mixed / multi-media works. Please include program notes, bio and technical notes in Word-readable format.
Works presented will be webcast and placed on the Sonus.ca website
http://www.sonus.ca/index.html
Please be sure to follow the guidelines at http://www.sonus.ca/call.html and http://cec.concordia.ca/Files/CEC_contract.html
Call For Papers SoundAsArt Conference
Aberdeen, Scotland
November 24th, 25th, and 26th
SoundAsArt: Blurring of the Boundaries
Over the past several years a growing fascination with the emerging art form Sound Art, has become prevalent within arts communities and academia. But what is it, how is it defined, and what is the impact on current practices of composers, artists, and those working in related fields (video, sculpture, architecture etc.)?
The SoundAsArt conference hopes to explore some of these boundaries, blurry though they may be, with the goal not of definition but of exploration. It is a peculiar characteristic of this art form to revel in the blurring of distinctions, the crossing of disciplinary boundaries, and the redefining of practices.
The conference will take place over a three day period and will feature papers/talks, installations, soundwalks, and performances. The entire content of the conference will be documented for release and made available online in pdf/mp3 format.
The conference is presented by the artist group urbanNovember in partnership with the University of Aberdeen, with generous support of the Aberdeen City Council.
Call For Papers (Abstracts)
We welcome papers on the topic of sound art that address questions of origin, exploration of boundaries between related practices, investigations of current practices, and speculation on the future development of sound art. Papers by individuals wishing to present their own work in relation to these issues are also welcome.
Proposals in the form of an abstract (500-1000 words) should be submitted via the conference website at http://soundasart.urbannovember.org (go to "Abstract Submission" and select "Refereed Abstract and Paper Submission" and "Submit a New Abstract or Paper" no later then July 21st. Please do submit early; you will be able to revisit and change your submission until that date).
All proposals will be peer reviewed and selections will be announced by August 15th. Finished papers will be due by November 1st, submitted in the same manner as the abstract. Papers should be of a length appropriate to a 20 minute presentation (approximately 3000 words). There will be a 10 minute question and answer session after each presentation. Please include a short bio (200 words) and any technical requirements you may have for your presentation. A small sound system, data projector, and docking bay for mac/pc laptops for powerpoint are available.
Please note that only papers that can be presented in person will be accepted. Unfortunately we are not able to provide any financial assistance, although the conference is free for all to attend.
Key Note Speakers include Professor Jonty Harrison and composer/performer Rajesh Mehta. Guest artist include performer Keith Rowe. Others to be confirmed.
The peer review panel includes:
Dr. John Levack Drever
Lecturer in Composition
Goldsmiths College, University of London
Jonty Harrison, BA DPhil (York),
Professor of Composition and Electroacoustic Music
University of Birmingham
Rahma Khazam, MA
Writer, Music journalist
Dr. Fiona Maclaren
Lecturer of Photography
Nottingham Trent University
Rajesh Mehta
Composer, Performer
Dr. Ken Neil
Head of the MFA in Critical Social Art Practice at Gray's School of Art
The Robert Gordon University, Aberdeen
Dr. David Reid
Lecturer in Photography
Nottingham Trent University
Dr. Pete Stollery
Composer and Reader in Electroacoustic Music and Composition
University of Aberdeen
Bill Thompson
Performer, Sound Artist
If you have any questions, please contact soundasart@urbannovember.org
SoundAsArt Conference http://soundasart.urbannovember.org
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