CALL FOR EVENT ASSISTANTS - EXPO 966
Sonic Arts Network is seeking dedicated and reliable Event Assistants to help out with this year's Expo weekend in Scarborough June 17-20.
Consolidating the moves toward diverse programming and new audiences that are central to this event we will be reaching more public than ever before this year through free concerts, shows and public installations and performances.
This means we need support in the delivery of this, increasingly complex, event which has, at its heart, the presentation of Sonic Arts Network members work.
The Event Assistants role will involve liaison with artists and the public, providing assistance to the core Technical team and assisting the Production team as appropriate.
To express an interest in getting involved please drop an email with a brief CV to firstname.lastname@example.org
CALL FOR PAPERS
Current developments in the cross media domain require innovative and new technologies to meet the challenges of the marketplace. The AXMEDIS conference combines the activities of the WEDELMUSIC conference series (www.wedelmusic.org) with the AXMEDIS consortium. The AXMEDIS consortium consists of leading European digital content producers, integrators, aggregators, distributors, and information technology companies and research groups involved in content production, protection and content distribution via different channels including interactive TV (i-TV), DVBT, DVBS, personal computer, kiosk, mobile phone, PDA and others.
This event seeks to promote discussion and interaction between researchers, practitioners, developers and users of tools, technology transfer experts, and project managers. AXMEDIS-2005 will bring together a variety of participants from the academic, business and industrial worlds, to address different technical and commercial issues. Particular interests include the exchange of concepts, prototypes, research ideas, industrial experiences and other results.
The conference focuses on the challenges in the cross-media domain (including production, protection, management, representation, formats, aggregation, workflow, distribution, business and transaction models), and the integration of content management systems and distribution chains, with particularly emphasis on the reduction of costs and solutions for complex cross-domain problems.
Topics of interest include, but are not restricted to, the following aspects:
* Automatic cross-media production, gathering, crawling, composition, formatting, P2P, etc.
* Formats and models for multi-channel content distribution
* Multimedia standards such as MPEG-7, MPEG-21, DMP, etc.
* Legal aspects related to digital content
* High quality Audio Video Coding
* Multimedia Music representation and formatting
* Watermarking and fingerprinting techniques
* GRID and Distributed systems for Content production
* Multimedia Middle Ware
* Workflow management systems
* Web services for content distribution
* Distribution with P2P architectures
* Semantic Web and P2P
* Collecting and clearing of rights and licenses
* Formats and tools for Content Aware
* Archives managements for cultural and educational applications
* Digital Rights Management (DRM), models and tools, and interoperability
* Synchronisation technologies and solutions
* Business and transaction models
* Systems and approaches for content production/distribution on demand
* Digital Content User Interface
* Digital Content accessibility
* Payments model
* Novel applications and case-studies of relevant technologies
RESEARCH PAPERS (long and short): Papers should describe original and significant work in the research and industrial practice of related topics. (i) Research studies, applications and experiments are particularly welcome. Papers should be limited to 8 pages in length. (ii) Shorter papers on work-in-progress, interim results, advanced topic position paper are also welcome. Submissions should be limited to 4 pages in length. Document style can be found at the conference website. Accepted papers will be published in the conference proceedings.
APPLICATIONS and INDUSTRIAL Presentations: Proposals for presentations of Applications and Tools are welcome. These include reports on the application and utilisation of tools, industrial practices and models, or tool/system demonstrations. A summary of up to two pages of accepted proposals will be published in the conference proceedings.
PANELS, WORKSHOPS and TUTORIALS: Proposal for panels, workshops and tutorials are invited - please contact email@example.com for details. AXMEDIS and other Tutorials will be hosted.
ALL submissions and proposals have to be written in English and submitted in PDF format via email to firstname.lastname@example.org by 10 April 2021 (extended deadline) . The conference proceedings are published by the IEEE Press. Selected papers from the conference will be considered for publication in special issues of one or more major peer-reviewed Journals in this domain.
For electronic submission please follow this link. In any case send a confirmation email to email@example.com
VENUE: Convitto della Calza, Oltrarno Meeting Centre, Piazza della Calza, Florence, Italy (www.calza.it ).
10 April 2021 (extended)
Notification of acceptance:
20 May 2021
15 June 2020
CALL FOR PROPOSALS
Proposals for presentations/papers related to the study of systems within the scope of traditional arts-related theory, or the application of general systems methodologies to the study of music, architecture, interior design, dance, theatre, and the visual arts are welcome. Abstracts of approximately 200 words should be submitted for evaluation. All proposals will be judged based on scholarly quality, originality and potential for further discourse.
Please submit proposals electronically in Microsoft Word format to James Rhodes, Jacksonville University USA (firstname.lastname@example.org) and Jane Lily, West Valley College, Saratoga, California USA (ç). Abstracts may also be submitted electronically using the form provided on the website.
Accepted papers of participants will be published in the Conference Proceedings of the International Institute for Advanced Studies in Systems Research and Cybernetics. Please be aware of the following dates:
April 15 200 Word Abstract due
April 22 Notice of acceptance
May 1 Conference registration and fees due
July 15 Final paper due
CALL FOR WORKS AND COMMISSIONS 2005
Soundtoys.net has secured a series of exhibitions for interactive audio visual art and net art for later in the year. These venues include Watershed Media Centre, Bristol and Dana Centre, London and Folly In Lancaster.
We are inviting contributions of new work for the 2005 series of events and for the website. We are interested in audio visual work by artists using the internet as a medium and using internet friendly programming technologies such as shockwave, flash and vrml. We are looking for contributions of audio visual interactive works, net art, music and art software, generative music, interactive environments and essays. If you make interactive installations, new interfaces, navigation control, new displays, these are also eligible so send in documentation.
Work will be featured on the website and selected works made into offline presentations at selected galleries. A CDROM is also planned, representing audio visual art and media from 1998-2005, so please send in your work.
There is an online submission area on the website Please go to www.soundtoys.net and use the online form - zip up your work and send in all related information.
Deadline: April 20 2005
COMMISSIONS FOR SOUNDTOYS
Arts Council of England is funding a series of commissions.
1. We are looking for artists to make proposals for new interpretations of the artworks on soundtoys.net. All the work is held online in a database. We want artists to create innovative front end interfaces to connect to the rest of the site. No technology is excluded and all ideas will be considered. Things that might be suitable as suggestions could be a text searcher to link to the Soundtoys journal and bring up texts about Soundtoys, a 3D space to connect to the online artist’s works or you could make a selection of works you like and make an interface to control and access them. Technologies that you could use can be anything that will work on the web such as flash, shockwave, processing, java, html, etc. These interfaces can be as experimental and audio visual as you want. To apply, please send in a clear proposal that includes how you would make it, your technical expertise, and a budget. Some sketches, ideas, and links to other works you have made would also be helpful. We have a budget of £6000 about (12000 dollars) to make 4 - 6 commissions. Deadline 20 April.
SEND IN VIA EMAIL your proposal, ideas, sketched and technical expertise.
2. Soundtoys is also putting together a CDROM which will feature artworks from the past five years. We are looking for a proposal from someone who can make the interface for the CDROM for the artworks. We want an interesting audio visual interface to control and connect to the works on the CDROM. Anyone interested should send in sketches and a proposal, and examples of previous work. We have a budget of 1000 pounds or 2000 dollars to make the design and interface. Deadline 20th May
The Harvard University Studio for Electroacoustic Composition is proud to present its first INTERNATIONAL COMPOSITION COMPETITION FOR LIVE ELECTRONIC MUSIC.
An international jury will evaluate all works that arrive before the deadline (September 15th, 2005) and will select up to six works to be performed during the Fromm Players at Harvard Concerts, March 6 through March 12, 2006. The six finalists will participate in a week-long festival, work with the performers, attend workshops on all six pieces and participate in several pedagogical events along with the composition students at Harvard University and the jury members. The final concert will be on March 12th, at which time the jury will award one grand prize. The competition will cover flight and hotel expenses for the six finalists.
We invite submissions of new works (written after January 1, 2021) incorporating two to four live performers and live-electronics by composers born after January 1, 1965. The live performers should be drawn from the following list: soprano (voice), flute, clarinet, violin, violoncello, piano.
Although there is no strict limit to duration, pieces between ten and fifteen minutes are encouraged. The work submitted may have been performed in concert. However, it must not have been released in recorded form and must not have been awarded a prize before September 15, 2005. If a recording exists, it may be sent along with other materials, but recordings are not required.
This year, the live electronics focus is on the creative use of Max/MSP or PureData. The composition may make use of sixteen output channels and will be diffused during the concert on the Hydra Diffusion System (24 loudspeakers). A complete, functioning patch containing all necessary elements and an explanatory note for its use should be included in the application together with the score.
The workshop will be an open platform for the exchange of ideas between composers and performers, emphasizing the practical issues raised by performance of live-electronic music. The six selected compositions will be rehearsed as a part of this workshop. There will also be lectures given by the jury members.
Applicants are invited to submit one composition. There is no entry fee. Student works are highly encouraged.
Selected works will be announced by November 1, 2005. Composers whose works are selected for the final workshop and concert are required to attend the entire week of March 6 through March 12, 2006. Should a composer be unable to attend, their work will not be presented. Selected composers must send parts by January 3, 2021 and a photo (free of copyright). The decisions of the jury are final.
* Submissions must arrive before September 15, 2005.
* Include THREE COPIES of the score, the materials for the live-electronic part, and any further documents pertaining to the submitted piece.
* Include a completed entry form (available for download at http://huseac.fas.harvard.edu/).
* Include a program note and a biography of the composer.
* Materials will not be returned and will become the property of the HUSEAC archive.
* The competition will not pay for any postage fees or customs duties.
Harvard University Studio for Electroacoustic Composition
LIVE ELECTRONIC MUSIC COMPETITION
Department of Music
Music Building, North Yard
Cambridge, MA 02138–2001