 |
|
|
|
|
Links |
No Response to RéponsBoulez Performance Shelved
So, what of Cut & Splice in 2007? Well, look North later in the year where we hope to get our teeth into a series of events around ‘food’, with schools, local producers and hungry people for installations and performances in a huge flour mill. It’s all still to be confirmed so more news soon…
£1.2 Million for MergerACE Award for New OrganisationArts Council England recently awarded Sonic Arts and four other organisations a staggering £1.2 million pounds to move forward with plans to create a new single entity, with the working title The New Organisation. Over the next 6 months we will be exploring what this means and welcome your continued input. To view further details of the award and what it means, please view the official news release here (PDF).
|
|||
After almost 2 years of planning, it seems we will be unable to realise a performance of Répons as part of this year's Cut & Splice. Despite months of wrangling with The Roundhouse, no concession on hire fees was offered, and coupled with a lack of input from Pierre Boulez and his representatives, we felt it best to shelve the project for the foreseeable future. However, whilst working on the project, a positive partnership with the BBC Symphony Orchestra has flourished and we hope to develop collaborative projects with the Orchestra over the coming years.
|
|
|
|
|
|
Call for Musicians
Soundcheck is a group of musicians in manchester, who share Oxfam's vision of a world where there is no longer poverty and suffering. Soundcheck artists are helping to make some noise about Oxfam campaigns - through their gigs, websites, newsletters, myspace pages, bebo pages, blogs, flyers, posters, etc. check out the artists that have already joined soundcheck... at www.oxfamsoundcheck.org.uk or drop us a line on soundcheck@oxfam.org.uk if you'd like to add your voice to the Oxfam campaigns Sarah Blakemore Oxfam Campaigns Oxfam works with others to overcome poverty and suffering.
Call for PapersDeadline: February 15, 2007Society for Music Perception and Cognition The Society for Music Perception and Cognition is a not-for-profit organisation for researchers and others interested in music perception and cognition. It seeks to further the scientific and scholarly understanding of music from a broad range of disciplines, including music theory, psychology, psychophysics, linguistics, neurology, neurophysiology, ethnology, ethnomusicology, artificial intelligence, computer technology, physics and engineering. The society also seeks to facilitate cooperation among scholars and scientists who are engaged in research in this interdisciplinary field and subsequently advance education and public understanding of knowledge gained from music research. SMPC invites the submission of proposals from any of the disciplines listed above for their biennial meeting (SMPC 2007) to be held from July 30 to August 3, 2007, at Concordia University, Montreal, Quebec. Presentations at the conference will reflect a combination of spoken presentations and poster presentations. Spoken presentations are expected to reflect larger, theoretical discussions, as well as programmatic empirical work, whereas isolated empirical studies will be encouraged for consideration as poster presentations. The duration of each spoken presentations is expected to be 20 to 30 minutes, ultimately depending upon the number of abstracts accepted for inclusion in the meeting. Potential presenters should submit an abstract of 300-400 words that provides a clear rationale for the project/review, plus a brief summary of methods, findings, theoretical interpretations and conclusions derived from the submitted work. All submissions additionally should include the title of the paper, names and institutional affiliations of each author, contact information (including mailing address, e-mail address, and telephone number) for one author who will correspond about submission status, the preferred presentation method (i.e., oral or poster presentation), as well as any anticipated needs for special equipment to deliver the presentation. (LCD, overhead, and slide projectors will be available for all oral presentations). Proposals also are welcomed for symposia. For symposia, sessions should feature multiple papers on a shared special topic. Some examples of possible topics for symposia are jazz/non-classical canon, as well as electroacoustics, musique concrete, and technology. Proposals for symposia should include an abstract for each potential spoken presentation (also indicating all authors, their institutional affiliations, and contact information for a corresponding author), plus a 1-page general summary outlining the session's overall rationale and organization along with correspondence information for a designated session coordinator (presumably, the submitting author). Finally, proposals also are invited for 1-2 potential half-day to three-quarter-day workshops that focus on special topics. Workshops would be made available as brief satellite meetings immediately prior to the official opening of the conference on July 30. Proposals for workshops should emphasise interactions among participants rather than strictly a collection of expert presentations. Thus, any workshop proposal should include opportunities for attendees to gain direct experience with the topic. Registration for a given workshop is expected to be limited to 25-30 attendees. Workshop proposals should include a detailed statement of the proposed topic, clearly defined goals and objectives for the workshop, a brief summary of proposed workshop activities and their organisation, as well as names, affiliations, and contact information for no more than two leaders for the workshop. In order to be considered for inclusion in the program, all abstracts and proposals must be submitted electronically directly to the SMPC Program Chair at smpc2007@jmu.edu; hard copy submissions will not be accepted. The subject line of the e-mail should read SMPC 2007 Submission; all requested information should be contained within an attached file in either Microsoft Word (.doc) or Adobe Acrobat (.pdf) format. The deadline for receipt of all submitted abstracts and proposals is February 15, 2007.
Sound Festival 2007 Call for Fringe Artists
21 July 2007, Kingston No festival is complete without fringe events! The SOUND 2007 festival team is looking for local (Dorset and surrounding counties) artists who have work to showcase in these art forms: Circus, theatre, experimental dance, acapella vocal groups, experimental music, experimental film, animation, performance poetry, puppetry, variety acts (ventriloquism, magic, juggling, percussion artists with spoons / washboards / junk, anything unusual, entertaining and quirky). For two fringe-themed marquees at the SOUND 2007 Festival at Kingston Lacy House, Wimborne on July 21st 2007. We are also looking for outgoing, possibly experienced volunteers to work as comperes for these Fringe marquees, or for experienced comperes willing to train local, young volunteers to compere these marquees. Queries, email images, film clips and text as attachments and examples of work which are online via links emailed to: Paula Brown, Festival Coordinator paulabrownpublishing@btinternet.com DVDs, CDs, cassette tapes and videos (sorry, non-returnable so please keep a copy) posted to: SOUND Fringe Fringe Entries deadline Sunday 15th April 2007 Selected performers will receive notification of their success and further details of the event programming during May 2007. There is no fee for selected performers but you will receive free entry to the SOUND 2007 festival and you will have the opportunity to showcase your experimental and alternative art work to the festival crowd. For further information please see the following websites:
Open Call for Liverpool Based Artists
If you are a practitioner, living or working in Liverpool or the Merseyside area, or if your work is informed by the region, then Werk, a curatorial agency, and Bluecoat Arts Centre are interested in hearing from you. Werk is organising Export Office, an ambitious exhibition showcasing current creative practices in Merseyside that will tour internationally in 2008. Werk is keen to hear about artists who produce high quality works from across the visual arts spectrum, including architecture, design, sonic art, applied arts, animation, live art as well as fine art. Bluecoat Arts Centre is currently closed for a major development, and will reopen in time for Liverpool's year as European Capital of Culture in 2008. We are doubling our gallery space and will also have new facilities for performance, workshops, artists' studios and much more. In researching our future programme and the relationship we will have to visual artists working in the region, we are interested in finding out who is doing what. This is not an application process for a gallery exhibition, but a way for you to tell us about your work. Artists, including recent graduates and post graduates, are invited to submit samples of recent work in a variety of formats (slides, DVD, video etc), which will be returned on request. To find out how to submit and download application forms, visit: or call Sara-Jayne Parsons, Exhibitions Curator, Bluecoat Arts Centre at 0151-709-5297.
Call for Submissions: South American ArtistsDeadline: 15 February 2007SudakaFest will showcase the work of the best up and coming South American artists living in London and abroad. The festival will bring attention to the most cutting edge and contemporary of South American culture. Sudaka is an ethnic label that comes from the Spanish, SUDameriCAno (South American). This xenophobic expression is used mainly in Spain to mean South American immigrants. In an ironic context Latin-Americans may use it to refer to themselves, like is the case with SudakaFest. The festival will be entirely curated by South American artists from a variety of backgrounds. We are aiming to break with lots of clichés associated with South American culture and show London and Europe the best of film, music and visual arts. We are now in the process of selecting work for the first festival to take place in March-April. Details of the venue, sponsors and partners are to follow. Music: send your cd to the address below or email us a link to your website or your myspace page. SudakaFest Special commission: we are also calling for submissions of work in any format inspired in the shooting of Jean Charles de Menezes at Stockwell tube station in July 2005. Send your proposals and examples of previous work to the above address or email. Deadline: 15 February Please do not send originals as we will be unable to return all the work received.
|
|
|
|
|
|
Sonic Postcards: Invitation to TenderDEADLINE: 1st March 2007Invitation to tender for research into the professional development opportunities for teachers and any resulting legacy in schools derived from the Sonic Postcards Programme. Sonic Postcards is an innovative, award-winning education programme, taking place in schools throughout the UK. It is devised and delivered by Sonic Arts Network, and is now in its third year. This research is subject to confirmed funding. Deadline for submission to tender: 1st March 2007 For a brief and further information please contact Becca Laurence, becca [at] sonicartsnetwork [dot] org
digi_club: Digital Sound Wednesday11 April, 10am 3pmdigi_club holds a regular programme of events in the real world, across Lancashire and Cumbria. You can find out about upcoming events here. To get involved with any of these events you or your parent/guardian will need to book your place by following the instructions below each listing. These events are open to anyone aged 12-16, you don t have to be a member of digi_club, although you will be encouraged to sign up on the day! Digital Sound - Wednesday 11 April, 10am 3pm CCMIX - Summer Intensive in Electronic Music 2007
The Centre de Creation Musicale Iannis Xenakis (CCMIX) announces its 13th annual summer session. The course will take place from Monday, July 2nd - Friday, July 27th, in Romainville (Paris), France. Faculty will include: Trevor Wishart, Agostino de Scipio, Michael Kinney, Sharon Kanach, Pip Chordorov and Gerard Pape. One-on-one Max / MSP tutorials with Stefan Tiedje. Individual studio work is at the heart of this program. As part of the 2007 Summer Intensive CCMIX offers seminars and studio sessions devoted to the issues of 'sound and image' in the work of Xenakis as well as in the broader area of 'visual music'. Consider a creative experience in Paris this summer. More information is available by email from Randall Neal, Admissions Director.
Music WorkerDEADLINE: February 9th 2007 10 hours a weekScale 6 - pro rata to £5,764.14 - £6,149.80 per annum. We are looking for an experienced music worker to run music tuition workshops for young people aged 11-19 in one or more instruments and encourage young people to play and perform music. You will be expected to actively encourage young peoples participation in music making projects and live performances. You will support, prepare and develop young people for all aspects of musicianship. The post holder will have some experience of working in a professional music studio environment alongside other musicians and producers. You must have a HND/BTEC in music and play a musical instrument to a high standard. For an application pack please contact Sally Davies, Trafford Youth Service, 3rd Floor, Arndale House, Stretford, Manchester, M32 9XY Telephone Number 0161 911 8601 Soundbikes - BIKE YOUR BEAT
STEIM presents a workshop and a lecture by soundbike artist Kaspar König. A workshop in which do-it-yourself manipulation of ordinary bicycles leads to high-end sound-generators and performing instruments. Bring a bike and transform it together with the knowledge and enthusiasm of inventor-artist Kaspar König. Creating acoustic extensions for the bicycle sounds like a contradiction-in-terms to the design of a bicycle. In this workshop everybody is invited to discover the many sounds hidden in the bicycle itself and the bicycling. To make a regular bicycle-sound we can easily neglect the maintenance of a bicycle. By not only turning the bicycle upside down but by actively adding sound-sensors, we'll discover the possibilities of soundbiking. Add-ons can be everything from a playing-card and laundry wedges, to fully powered amplification for strings, microphones and all other things that fit the conditions of the soundbicycle and its creative maker. How can a bicycle brake become a brake beat? By turning the wheel regularly, a bicycle likely becomes a time-pulse or measure. By finding the right spots to control the sound input, more musical patterns can be discovered while the wheel is turning. Now it's up to our imagination to invent all kinds of little things we could try to mount on the existing mechanisms as well as discover new mechanisms. Can every bicycle become a musical instrument? Basically yes, if some parts are still rotating, sounds can be created. Although a full functional bicycle can ride on the streets and the street is the best trigger for the soundbike! Is there a composition in the street? That is a good question. For many reasons I believe several streets sound better then others with and without the use of a soundbike, depending on the characteristics of the bike and the street. Drive your soundbike outside and experience the biggest score of the world: the street! Let your ears decide! Location: STEIM, Achtergracht 19, Amsterdam The fee for the workshop is
€100, registration can be done only through the STEIM website, at http://www.steim.org/steim/workshops.php . Opportunity for artists working with sound & musicDeadline: 15 February 2007All Change is looking for freelance artists who work with sound for a new programme of work with young people in Islington, north London beginning in early 2007. The programme, led by Project Director Gavin Lombos, will involve young people working with professional artists to create sound and music work, which is the 'soundtrack' to their lives. Outcomes may include music tracks, spoken word pieces, film soundtracks and more. Work will be shared through a variety of outcomes including live performance, site-specific installations and podcasts. If you are interested in being involved please send: Your CV and a short letter explaining why you would be interested in being involved in this project (please mention any experience you have that you feel may be especially relevant to this project to All Change, 16-34 Graham Street, London N1 8JX or by email to: all.change@virgin.net Deadline: Friday 15 February 2007 All Change is a registered charity, founded in Islington in 1985, which uses
the arts to promote social inclusion within education, social housing, health social care and regeneration schemes. Our projects reach people of all ages and backgrounds - excluded young people and those at risk, disabled people, people with mental health issues, older people, people living in deprived neighbourhoods, refugee communities and asylum seekers. Participants gain skills and develop confidence whilst creating original and authentic art. The projects stimulate ideas, provide motivation for the future and make lasting new connections within communities. ECMCT - European Course for Musical Composition and TechnologiesDeadline: 28 February 2007A one-year course (which may be incorporated in your present studies with your school's permission) specially devised for sound artists, composers, musicians and visual artists with musical skills and interests. The course includes intensive training both in technologies and musical creation, and also provides a window on recent research developments in the areas of sound and computer music. A European partnership in the framework of the European programme Leonardo Da Vinci offers a new European Course for Musical Composition and Technologies. The course provides students with the opportunity to familiarize themselves with, and take full advantage of, two leading European institutions hosting production and research in the field of new technologies applied to music. The innovative teaching program comprises: Lectures by international artists and experts / thematic seminars / intensive. Hands-on workshops on software for studio work and composition (recording, sample editing and sequencing, real-time sound processing, sound spatialisation, computer-assisted composition) / master classes / video-conferences and production of the student's own creative project. * Coordinated by Ircam (Institut de Recherche et de Coordination Acoustique/Musique, Paris) The partnership comprises the following participating European institutions : For more information and application forms visit www.ecmct.eu.org
Futurevisual: Call for ProjectsDeadline: 15 February 2007A part of FUTURESONIC 2007 http://www.futuresonic.com/07/2007_submissions.html In 2007 we are inviting submissions of projects at the cutting edge of immersive sound and image. Deadline: Thursday 15th February 2007 Futurevisual forms the centrepiece of Futuresonic Live at Futuresonic 2007 in Manchester/UK, and a dedicated space - the Futurevisual Lounge - will be available at the main festival venue for Futurevisual screenings. A selection of works will be shown at partner festivals in South Korea and Brazil, and as part of The Bigger Picture, Big Screen Manchester on a 25 square metre video screen with full sound system situated in Exchange Square, a public area regenerated after the IRA bomb in 1996, that has an estimated daily footfall of 50,000 people. WHAT IS THE THEME? This will be a homage to the 40th anniversary of seminal multimedia events in 1967 which, like Futuresonic, came not from film but a collision of music and art worlds. At events such as The 12 Hour Technicolour Dream and Games For May, and the UFO club, London's psychedelic underground exploded into the daylight. These were at the beginning of a seminal year which saw a coming together of the worlds of music and visual art, a crossover between avant garde and popular music, and also the introduction of the Moog at Monterey. In what is also the 20th anniversary of another key year for immersive sound and image, the birth of UK electronic dance culture in 1987, Futurevisual goes back to the future - revisiting one of the inspirations of the first Futuresonic festival in 1996, and the theme of Audiovisions in 2000 - to look at the cutting edge of immersive sound and image today. Futurevisual will feature work by leading local, national and international artists working in sound and moving image. Some of the original figures involved in 1967 will play key roles in Futurevisual. Alongside them will be contemporary musicians and artists who can connect with the energy and openness of that year, and bring it bang up to date. WHAT KINDS OF PROJECT WILL BE ACCEPTED? IS FUNDING AVAILABLE FROM FUTURESONIC TO COVER THE COSTS OF
PRESENTING THE PROJECT? HOW TO SUBMIT PROPOSALS Please complete the online form to submit your project. futuresonic.com/07/2007_submissions.html
Call for Work: Prix Ars Electronica 2007Deadline: March 9 2007Since 1987, the Prix Ars Electronica has served as an interdisciplinary platform for everyone who uses the computer as a universal medium for implementing and designing their creative projects at the interface of art, technology and society. DIGITAL MUSICS Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, as well as sound installations. Regardless of the media or style utilized by the respective artist, utmost consideration is given to the entry s musical qualities and sound artistry. WHAT SHOULD YOU ENTER? This music category of the Prix Ars Electronica is open to: * Sound and New Media - (audio visual performance, sonic sculpture, intermedia / video / film soundtracks, installations, soundspace projects, radio works, net-music, generative musics, etc.)
The crucial criterion is the artistic and innovative use of digital tools to manifest a convincing realisation. Participants may be individuals, groups, institutions, companies, etc. Exclusively commercially oriented activities in the sense of product advertisement are excluded.Each participant may enter only one work, which has been created, realized or significantly updated within the last two years. SUBMISSION DETAILS All works must be submitted on audio CD, DAT, DVD Audio, DVD Video, including specification of the necessary codecs, plug-ins and formats (such as NTSC and PAL). Enter projects such as sound installations, real-time performances, audio/visual environments, etc. as a video document (3-10 minutes). This documentation should describe not only the event itself but also the characteristics of the work's environment aside from the music, such as spatial and technical requirements for the realization of the piece. Important: Award-winning works may be performed in conjunction with the 2007 Ars Electronica Festival. Entrants are therefore requested to provide precise information about the technical set-up of all required equipment as well as suggestions regarding any technicians, musicians or soloists necessary to implement the production plans submitted. We ask you to use the online registration at prixars.aec.at to register and send the signed print-out of the online registration form along with your entry material by March 9, 2007 to: Ars Electronica Center Linz |
|
