Organised Sound: An International Journal of Music and Technology
SUBMISSION DEADLINE: 15 July 2008
Call for submissions
Volume 14, Number 1
Issue thematic title: Sound Art
Date of Publication: April 2009
Publishers: Cambridge University Press
Issue co-ordinator: Jøran Rudi (joranru@notam.uio.no).
This issue of “Organised Sound” will focus on sound art, a genre of acoustic expression that has a long history in both music and the visual arts. Currently, sound art is becoming a highly dynamic focus for new cross-disciplinary activity. Partially this has to do with young composers' eagerness to search out for new forms of public performance as well as new arenas. This has also led to a new way of looking at the relationship work/audience/performer/ composer.
These conceptually new approaches to music and art can be traced to developments in technology and society in general. It is interesting to note the extent to which this interest has developed outside the established networks and hierarchies of, for example, electroacoustic music.
Themes of interest include:
- conceptually oriented investigations of sound as material
- site- and context-specific art
– the use of soundscape within sound artworks
- process-oriented rather than entity-oriented definition of artworks
- use of audio and music technology whilst departing from the approaches to listening and analysis that are predominant in traditional forms of electroacoustic music.
- new technological means allow artists to pursue new arenas
- convergence in tools -> dissolving lines of distinction
Some questions that are related to the challenges posed by sound art:
How do these changes affect the relationship between concept and craft; what are the implications in terms of critical listening and our ideas of emergent qualities?
What are the implications of the use of different artistic spaces?
Is this a new way of tying art again into society, and if so, which groups in society will benefit? In other words does this represent a renaissance of social art?
Or is this yet another village in society, possessing more or less transparent demarcation lines?
With regard to the established field of electroacoustics: how do we describe the changes in aesthetics?
How can sound art and process-music (for lack of a better term) benefit us in reassessing our field, aesthetically and functionally?
We invite submissions from composers, performers, artists and researchers working in the realm of digital media and sound. Submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.
Deadline for submissions is 15 July 2008. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 14/3.
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SUBMISSION DEADLINE: 15 July 2008
SUBMISSION FORMAT
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or from:
http://www.journals.cambridge.org/oso
Email submissions should be sent to (please see SUBMISSION FORMAT above): os@dmu.ac.uk
Hard copy of articles (only when requested) and other material (e.g., images, sound and audio-visual files, etc.) should be submitted to:
Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
ICMA Representative: Mary Simoni
International Editorial Board: Marc Battier, Laurant Bayle, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel
Read more!
Monday, December 24, 2007
organized sound journal - sound art
Sunday, December 23, 2007
FDRC grants
Summer - due 2/15 to Trudy
Fall - due 4/17 to Trudy
Spring - due 10/1 to Trudy
http://grad.towson.edu/ours/index.asp
Read more!
ATMI Proposals
Jan 21 2008
_____________________________________________
ASSOCIATION FOR TECHNOLOGY IN MUSIC INSTRUCTION (ATMI)
2008 CALL FOR PROGRAM PARTICIPATION
_____________________________________________
The ATMI 2008 Program Committee invites the submission of proposals for the 2008 Conference. The concurrent national conferences of ATMI and the College Music Society will be held in Atlanta, Georgia, September 25-28, 2008. Proposals dealing with any aspect of technology in music instruction and/or electronic performance are welcome. The Association is particularly interested in presentations that focus on
* Music technology curricular and programmatic interests
* Online music instruction: local, regional, national, and international
* Multimedia: integrating text, graphics, video, audio, etc.
* Creative pedagogies/technological tools: music learning, composition, etc.
* Performance incorporating music technology
* Uses of MIDI, digital audio, etc. in ensembles
* Research on the effectiveness of music technology
* Student-created projects involving music technology
_____________________________________________
AWARDS
ATMI will recognize outstanding presentations in two categories. Monetary awards will be given for the best conference-wide presentation ($100) and the best student presentation ($250). In order to qualify for the student award, the presenter must be enrolled as a student at the time of the conference.
Faculty members should encourage outstanding students to submit proposals. Additional information on these
awards may be found at the ATMI website
_____________________________________________
PROPOSAL SUBMISSION DEADLINE
January 21, 2008. A complete Proposal Form is included at the end of this announcement. A downloadable
version is available at the ATMI website
_____________________________________________
CONFERENCE SESSIONS
The conference will offer a variety of presentation formats, including papers, panels, demonstrations, training sessions/workshops, electronic poster sessions, and performances involving technology software/hardware.
In addition, the intended audience will be identified with regard to prior music technology experiences or comfort level (e.g., general, novice, intermediate, or advanced). Presenters are encouraged to reserve five minutes at the end of their time slots for brief question and answer periods.
Presenters are strongly encouraged to propose electronic poster sessions. This venue is particularly appropriate for graduate students engaged in relevant and timely research. These will follow the usual electronic poster session format.
A Conference Proceedings Index will be available, which will point to presenter's sites to provide centralized access to conference topics.
_____________________________________________
PRESENTATION TOPICS
Proposals dealing with any aspect of technology in music instruction and/or electronic performance are
welcome. The Association is particularly interested in presentations that focus on:
* Music technology curricular and programmatic interests
* Online music instruction: local, regional, national, and international
* Multimedia: integrating text, graphics, video, audio, etc.
* Creative pedagogies/technological tools: music learning, composition, etc.
* Performance incorporating music technology
* Uses of MIDI, digital audio, etc. in ensembles
* Research on the effectiveness of music technology
* Student-created projects involving music technology
The Association strongly encourages students to present their own projects, though a faculty ATMI member
may submit the official proposal.
_____________________________________________
PRESENTATION FORMATS
ELECTRONIC PERFORMANCE: The Association renews its efforts to present musical performances
featuring the use of MIDI, digital audio, or other media technologies. If relevant, the proposal should include
specific information regarding the ensemble and its relation to curricular goals. Encouraged are solo, chamber,
or ensemble performance proposals, demonstrations of unique electronic instruments, or performance-related compositional activities involving music technology. (If you know of performers, ensembles, or presenters that meet this description, please forward this message to the appropriate person!) NOTE: ATMI cannot provide funding/compensation for the travel or lodging of any performers. At least one person involved in the presentation (e.g., director, performer, composer) must be an ATMI member. Submitting a proposal indicates the intent to attend the conference and deliver the presentation.
PAPERS AND PANELS: Traditional academic papers and panels dealing with music technology in any manner are welcome.
DEMONSTRATIONS: Appropriate are demonstrations that focus on newly authored software from all aspects of the music curriculum. We also encourage demonstrations on existing software that are especially useful in instructional and creative purposes. Especially welcomed are applications that take an innovative approach to
music teaching and learning. Proposals should include a complete description of the software's design and its use in the teaching environment.
TRAINING SESSIONS/WORKSHOPS: People looking for practical ways to expand their skills often attend ATMI sessions. The Program Committee would like to serve this constituency by offering short training sessions tailored to attendees with novice and intermediate skill levels. Submissions in this category should focus on the presenter's level of experience and background. A one-hour limit will be placed on these workshops. Presenters will need to provide the appropriate software, preferably on CD-ROM. NOTE: We will have a lab of Apple computers, each with a MIDI controller, connected via a group education controller available for these sessions. Special consideration may be given to those who take advantage of this lab.
ELECTRONIC POSTER SESSION(S): The conference will host at least one computer-based poster session,
in which multiple presenters will concurrently show material in a large display area. Especially encouraged are
one-on-one or small-group presentations or demonstrations of research, interactive music lab software, work in progress, and examples of student work. Proposals should include a complete description of the material to be presented. If appropriate, graphic images or actual software samples may be included with a proposal
submission, but should be clearly described in the text of the proposal. NOTE: Poster session participants must supply all necessary presentation hardware and software.
NORMAL CONFERENCE EQUIPMENT: As in the past, the ATMI room will be equipped with a data projector and moderate sound system. At least one synthesizer and a MIDI Interface (USB) will be available.
All INTERNET-BASED PRESENTATIONS should be designed to run locally (i.e., without actual connection to the Internet) due to the unpredictability of conference facility telephone/network lines. If an actual connection is *essential* to your proposal, this must be indicated in the Specialized Equipment/Software portion of the proposal form.
Details regarding specific hardware configurations and installed software in the lab room will be available
immediately prior to the conference. However, you should be prepared to provide whatever non-standard
software and/or hardware is required for your presentation.
ATMI members who can supply (i.e., bring with them) any of the equipment listed here are highly encouraged
to contact the Program Chair. This will help to defer the significant cost of equipment rental.
Presenters are expected to supply their own laptop computers, which must be appropriately configured to
work with typical data projectors. Consult your local dealer if you are unsure about compatibility issues.
_____________________________________________
SUBMISSION GUIDELINES
ALL PROPOSALS MUST INCLUDE:
* Completed Proposal Form (included at the end of this e-mail)
IN ADDITION . . .
* PAPER, PRESENTATION, and DEMONSTRATION proposals must be submitted for blind review. Authors
must exclude references to individuals or institutions within the body of the proposal that might compromise
this process. Proposals for papers should include clear statements of background, methodology, content to
be covered, and conclusions. Demonstration proposals may be accompanied by a Training Session/
Workshop proposal. Prior to submission to the Program Committee, these proposals may be edited by the
Program Chair as needed to facilitate the blind review process.
* TRAINING SESSION/WORKSHOP proposals must be submitted for blind review. Authors must exclude
references to individuals or institutions within the body of the proposal that might compromise this process.
The presenter may also propose a Demonstration session to precede the Training Session/Workshop. Include
a detailed list of software, CPU requirements, and all other equipment required to present the session as
proposed. Prior to submission to the Program Committee, these proposals may be edited by the Program
Chair as needed to facilitate the blind review process.
* PANEL proposals must clearly describe the purpose of the presentation and should list the proposed
participants and their qualifications in relation to the presentation topic. Prior to submission to the Program
Committee, these proposals may be edited by the Program Chair as needed to facilitate the blind review
process.
* Electronic PERFORMANCE proposals should include the name of the primary contact person (performer or
director), a description of the proposed performance, an excerpt of a recent performance, a statement
describing the purpose/mission of the performance medium and its relationship to music education, and any
other relevant information. If ATMI is expected to provide any equipment other than that described above, a
detailed list must be submitted. It may not be possible for ATMI to supply additional equipment. Prior to
submission to the Program Committee, these proposals may be edited by the Program Chair as needed to
facilitate the blind review process.
_____________________________________________
The ATMI 2008 PROGRAM COMMITTEE
Jennifer Sterling Snodgrass, Chair (Appalachian State University)
Bruce Frazier (Western Carolina University)
Cynthia Gonzales (Texas State University-San Marcos), organizer for ATMI 2009
Gena Greher (University of Massachusetts, Lowell)
Dan Hosken (California State University, Northridge), organizer for ATMI 2007
Keith Mason (Belmont University)
Ken Smith (Western Michigan University)
Kim Walls (Auburn University)
_____________________________________
PROPOSAL SUBMISSION DEADLINE: January 21, 2008.
_____________________________________________
SUBMISSION FORMAT
All proposals should be e-mailed directly to
proposal" in the subject line. Multiple proposals by the same presenter should be sent in separate e-mail
messages.
Hard-copies will NOT be accepted unless materials absolutely cannot be submitted/read electronically.
Please check with the program chair before submitting any hard copies.
Electronic Performance excerpts should be sent as an mp3 (or other compressed format). Maximum total
size of excerpts should not exceed 3 MB. If electronic transmission proves unworkable, excerpts may be be
sent via snail mail. Please limit excerpts to 3 to 5 minutes.
Snail Mail address:
Jennifer Sterling Snodgrass
ATMI 2008 Program Chair/School of Music
Appalachian State University
Broyhill Music Center
Boone, NC 28608
_____________________________________________
NOTIFICATION
Proposal receipt will be acknowledged by return e-mail within three days.
NOTE: With the exception of individuals not listed in the program booklet (such as student/professional
performers or technical assistants), presenters must be fully paid members of ATMI at least one month prior
to the conference. All presenters whose names are included in the program book are expected to register for
the conference.
_____________________________________________
Complete and e-mail the form below within the body of the email in plain text to:
Include the words "ATMI proposal" in the subject line.
NOTE: Do *not* quote or include any of the preceding text!
_____________________________________________
PROPOSAL FORM -- Must be completed for *each* ATMI 2008 session proposal:
Background Information (Numbers 1-8 will not be forwarded to program committee)
1) Proposal Author(s) and Institutional Affiliation(s):
2) Biography of each participant, performer, or ensemble (150 word limit):
3) Brief biography (50 word limit!) that will be used for introduction at the conference:
4) All e-mail addresses that you regularly access: (If multiple presenters are to be included, please provide
email addresses for ALL presenters, listing the primary contact first)
Preferred:
Other(s):
5) All phone numbers at which you can be reached:
Office:
Home:
Other:
6) Mailing address (if necessary for official communication):
_____________________________________________
_____________________________________________
7) Due to *unavoidable* conflict I absolutely *cannot* present on the following date(s):
No Conflicts Exist
September 25
September 26
September 27
November 28
Explain unavoidable conflict:
8) List all other non-ATMI proposals that you are submitting for the Atlanta 2008 meeting:
9) Proposal Title:
10) Intended Audience (delete all but one):
General (little or no experience)
Novice (minimal experience)
Intermediate (uses many apps., doesn't write code)
Advanced (very experienced, may incl. programming)
11) Presentation Topic (delete all but one):
Music technology curricular and programmatic interests
Online music instruction
Multimedia
Creative pedagogies/technological tools
Performance incorporating music technology
Uses of MIDI, digital audio, etc. in ensembles
Research on the effectiveness of music technology
Student-created projects involving music technology
Other (please specify)
12) Internet Connected
Is Internet Connection Desired (delete one):
Yes
No
Is Internet Connection Required* (delete one):
Yes
No
*NOTE: All presenters are advised to prepare an offline version of the presentation in case of connection
failures during the conference.
13) Presentation Format (delete all but one):
ELECTRONIC POSTER SESSION
PAPER
DEMONSTRATION
TRAINING SESSION/WORKSHOP
Must be compatible with the Apple lab.
PANEL
Panel Participants and Institutional Affiliation:
ELECTRONIC PERFORMANCE (complete if appropriate/known):
Group Name:
Performers:
Instrumentation:
Repertoire:
Equipment I cannot provide:
Other:
OTHER (be specific):
14) Presentation Description (2000 word limit!) [Reminder: this item must be anonymized for blind review]:
15) Single-paragraph ABSTRACT suitable for inclusion in program (150 word limit) [Reminder: this item must
be anonymized for blind review]:
16) Requested Presentation Period (delete all but one):
30 minutes
45 minutes
60 minutes
Approximate duration for electronic performance: ______
Other (explain):
Please note: Attempts will be made to provide presenters with the time requested for their sessions, however,
due to the complexities of scheduling, presenters understand that they may be required to adjust for a shorter
or longer time slot as assigned.
17) Specialized Equipment/Software that I *cannot* provide:
None
Internet connection is *essential* to my presentation.
Other (be specific):
18) Other information that may be helpful to the Program Committee:
* INCOMPLETE PROPOSALS will *not* be reviewed.
* SUBMISSION DEADLINE: January 21, 2008.
* E-mail to
Include the words "ATMI Proposal" in the subject line.
Read more!
Thursday, December 20, 2007
BOPA grant?
http://promotionandarts.org/index.cfm?page=grants&contentid=24
Grant for Organizations
Background & Purpose
Mayor Sheila Dixon and the City Council of Baltimore are committed to nurturing and supporting a vibrant, creative community that inspires individuals, celebrates our culture and showcases the arts.
In June 2007, the Mayor and City Council authorized an increase for underwriting the support of Baltimore's cultural community through the city budget.
The Creative Baltimore Fund will provide grants that will total over $1,000,000 to cultural organizations. The grant will support general operating expenses of the eligible organizations
Program Administration
The Baltimore Office of Promotion & The Arts (BOPA) will administer the Creative Baltimore Fund as a competitive grant program.
The fund will award up to 3% of the annual operating budget of eligible organizations.
Awards will be made based on track record of the organization, the quality of their public cultural programs, particularly those geared towards children/teens, the availability of other financial support for the organization, the organization’s service to the community and the organization’s ability to effectively manage its resources (financial, manpower, program, and administrative).
Funding Amounts
The Creative Baltimore Fund will provide up to 3% of an organization’s allowable operating cash budget.
Requests are based upon allowable operating expenses for the most recently completed fiscal year.
Not allowable as operating expenses are
Re-granting
Acquisition of capital assets
Allocations to cash reserves
Capital improvements
Depreciation
Deficits
Loan principal payments
Contributions to endowments
Scholarships awarded by the applicant organization for its
own activities
Not allowable as operating income are
Loans
Carryover
Transfer of funds earned in prior years
Revenue raised for capital or endowment funds
Funds intended for the purpose of re-granting
Time Line (TBD)
Applications available on line (www.promotionandarts.com) Tuesday, November 1, 2007
Applications due by 5:00 pm, Friday, January 4, 2008.
Jury review takes place February 1 - February 29, 2008.
Awards announced March 17, 2008. Payment of 80% of award made with receipt of completed contract.
Final reports due by July 31, 2008 and final 20% of award disbursed upon receipt of final report.
Eligibility
Non-profit cultural organization with 501(C)3 status headquartered in Baltimore City or providing at least 50% of its programs within the City.
Produces or presents cultural, visual, performing or literary arts programs or performances.
Member in good standing of the Greater Baltimore Cultural Alliance
Funding available for:
Operating Expenses - All awards will be competitive.
Financial Information
All applicants will be required to use the financial reporting forms available through the Maryland Cultural Data Project (CDP). The Maryland CDP is a standardized online system for collecting historical financial and organizational data for grant applications to participating funders. Contact help@MDCulturalData.org or call 1-866-9-MD-DATA for more information.
Staff Review
After the application is received, it will be reviewed by staff at BOPA for completeness and adherence to the guidelines set forth in this document. Applicants will be notified by e-mail whether their application is complete or if additional information or corrections are necessary.
Advisory Panel Review
When the application is complete, it is assigned to members of the appropriate Advisory Panel for review. Advisory Panels meet formally to evaluate the applications submitted within their disciplinary areas.
Notification
All applicants will be notified of the final decision in writing by March 17, 2008.
Payment
Grant agreement forms mailed out by March 31, 2008, and must be executed before grant funds are disbursed.
Required documentation
Applicants must submit the following:
Most current audited financial statement for the organization
Copy of 501(C)3 tax exemption determination letter
Copy of Maryland Certificate of Good Standing
List of current Board of Directors
List of paid staff (FT and PT)
Resumes of key artistic and management personnel (with salaries listed)
List of activities scheduled and completed in the past two years
General Application Information
Applications may be submitted electronically to: Shawn James at Sjames@promotionandarts.com, or mail completed application to:
Baltimore Office of Promotion & The Arts
7 East Redwood Street, Suite 500
Baltimore, MD 21202
Attn: Creative Baltimore Fund
Read more!
Wednesday, December 19, 2007
ARS Electronica
Hybrid, Digital Music, or Interactive categories
http://www.aec.at/en/prix/cat_overview.asp?nocache=338262
March 7, 2008 deadline
http://www.aec.at/en/prix/cat_digital_musics.asp
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.)
* Electronica- as in Dub, Techno, Microsound, Ambient, Global, Minimal, HipHop, Jazz, Noise, Downtempo, Drum'n Bass, Mondo/Exotica, digital DJ-culture, Mash-ups, Music videos, Glitch, Plunderphonics etc.
* Computer compositions (algorithmic, acousmatic and experimental), analog and electro-acoustic methodologies, the use of voices and acoustic or amplified instruments are allowed as well, but the crucial criterium is the artistic and inventive use of digital tools to manifest a convincing realization.
The crucial criterion is the artistic and innovative use of digital tools to manifest a convincing realization.
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.
*
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.
flüux:/terminalPlunderphonicsbanlieue du Vide
WHAT SHOULD YOU ENTER? SUBMISSION DETAILS JURY NICA WINNERS 1987 - 2007
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.)
* Electronica- as in Dub, Techno, Microsound, Ambient, Global, Minimal, HipHop, Jazz, Noise, Downtempo, Drum'n Bass, Mondo/Exotica, digital DJ-culture, Mash-ups, Music videos, Glitch, Plunderphonics etc.
* Computer compositions (algorithmic, acousmatic and experimental), analog and electro-acoustic methodologies, the use of voices and acoustic or amplified instruments are allowed as well, but the crucial criterium is the artistic and inventive use of digital tools to manifest a convincing realization.
The crucial criterion is the artistic and innovative use of digital tools to manifest a convincing realization.
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.
Along with the work, please include a comprehensive description of the work as well as information about equipment, scores, set-ups, and any illustrations or sketches if possible.
Important:
In addition to the complete work, please include a 2-3 minute excerpt that effectively gives an introductory summation of the essential elements explored in the whole piece. This edited extract can serve as a compressed remix of different musical areas of the longer composition, or the participant can simply choose a continuous representative slice. This helps the jury to deal with large quantities of submissions in a focused judicial manner.
Award-winning works may be performed in conjunction with the 2008 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 7, 2008 to:
Ars Electronica Linz GmbH
Hauptstraße 2
4040 Linz, Austria
Code: Prix
or per fax to +43.732.7272-674
Read more!
Saturday, December 8, 2007
Service Learning Article - Michigan Journal of Community Service Learning
Do You Want to be Published for Your Service Learning Work?
Abstract DONE - Finish paper concentrating on multidisciplinary by March 31 2008
This is a call for abstracts for volume 15 (fall 08/ spring 09) of the Michigan Journal of Community Service Learning (MJCSL; www.umich.edu/~mjcsl/.
The MJCSL is the premiere international journal devoted to service-learning research, theory, pedagogy, and other matters relevant to curriculum-based (academic) service-learning in higher education. It is published at the University of Michigan Ginsberg Center.
To keep up with the expanding civic engagement field, beginning with volume 15 the MJCSL will expand its purview. In addition to research, theory, pedagogy, and other relevant issues to curriculum-based (academic) service-learning, the MJCSL now also will review articles focused on:
University-community partnerships
Engaged/public scholarship (faculty work which involves and benefits a community AND advances a faculty member’s scholarship or creative work)
Please submit by December 20th, 2008 an abstract or précis no longer than one-page that reflects the gist of your planned article submission. Abstract submissions that fit within the purview of the MJCSL and appear to satisfy MJCSL quality thresholds will be invited to submit a complete paper. The invitation will be sent via e-mail no later than January 15th. Complete articles will be due the last Monday in March (the 31st).
Additional submission guidelines may be found at the MJCSL webpage at www.umich.edu/~mjcsl/.
Contact info: daccardi@towson.edu; 410-704-3921.
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From Michigan Journal's page:
Since 1994, the Michigan Journal of Community Service Learning (MJCSL) has been the premiere national, peer-reviewed journal publishing articles written by faculty and service-learning educators on research, theory, pedagogy, and other issues related to academic (curriculum-based) service-learning in higher education.
To keep up with the expansion in the civic engagement field, beginning with volume 15 the MJCSL will expand its purview. We will now review articles focused on:
* University-community partnerships
* Engaged/public scholarship (work which involves and benefits a community
AND advances a faculty member�s scholarship or creative work)
* Academic (curriculum-based) service-learning
The MJCSL submission process remains the same: submit an abstract/precis by December 20th, the editor will invite submissions based on these abstracts by mid-January, and articles are due the last Monday in March for consideration in the next volume year.
Authors are welcome to contact the editor, Jeffrey Howard (jphoward@umich.edu
Read more!
Wednesday, December 5, 2007
Champ Libre - Call
http://www.champlibre.com/foret/uk/index.htm
INTRODUCTION
The MANIFESTATION INTERNATIONALE of Champ Libre is a biennale event. Its eighth edition will take place in September 2008. The Manifestation will develop a reflection on the theme of the FORET. The proposed theme is an invitation to the personal interpretation of creators.
Champ Libre, while creating a biennale entitled Manifestation Internationale, gave itself the double mandate to shed the knowledge of and to contribute to the development of media arts and architecture. Thus, Champ Libre increases the visibility of these fields in the public space. It is through a nomadic process that Champ Libre invests and diverts urban spaces already occupied by other uses. Every edition of this biennale event proposes a program composed of installations, within which cohabitate several modes of expression associated with new media arts and architecture. Champ Libre wants thus to sensitize the public to and develop a critical thought facing these disciplines. Often inaccessible places are invested during the events and a staging integrates the works presented to the architectural site as a whole. The Manifestation offers its artistic programming to a constantly renewed public, comprising the users of the invested site and takes advantage of social interactions that exist around these places.
The present call has for objective at once to constitute the programming of FORÊT/FOREST: 8th manifestation internationale of champ libre and to gather collaborators and partners that will allow the optimum realization of the event, and its success.
The projects in demand will have to spatially explore the perception of the invested site and invite the public to transform and manipulate this latter.
The partners in demand will have to enrich the programming while contributing to the optimal realization and to the critical positionning of each work, as well as to the optimal achievement of the goals of the event.
OBJECTIVES OF THE EVENT
Champ Libre is looking for installations allying art and architecture and occupying the public space, while using new media components, works that explore the architecture of the site occupied in its spatiality and transform the visual or sound perception of this latter.
Champ Libre is looking for interventions of art and of microarchitecture that occupy the contemporary public space and question it in terms of programming, that offer an appropriation of the site by the mutation of one of the aspects of the latter.
Champ Libre is looking for interventions of art and of architecture that transform the experience, the comprehension or the perception of the site of the event for the spectator, and that include the participation of the latter to the existence of a site and to a ritual that renders exceptional and makes this space evolve through time.
Form - http://www.champlibre.com/foret/uk/forest_form.pdf
March 1, 2008
Read more!
Tuesday, December 4, 2007
Call for Multi-Channel Works - EuCue Feb 2008
(Electroacoustiques universite Concordia university Electroacoustics)
http://music.concordia.ca/EuCuE/Concerts.html
invites composers to submit works for concerts 7 thru 13 of Series XXVI
February 6, 7, 8, 2008
at the Oscar Peterson Concert Hall
of Concordia University, Montreal, Canada
Featured composers include:
John Chowning, Karlheinz Stockhausen, Maurice Wright
and the concerts will present the Concordia Quodlibet 2007.
----------------------------------------------------------
Multi-channel works are invited for 4, 4.1, 5, 5.1 etc up to 12.2,
with the possibility of other configurations, and video presentation.
All concerts are webcast (except Stockhausen). Received pieces are
kept in the Concordia Archive, and with the Sonus.ca contract
http://www.sonus.ca/contracts/index.html are included in Sonus.ca,
possibly the world's largest ea 'jukebox'. http://www.sonus.ca/
Selected works are preceded by a spoken introduction providing such
things as historical or analytical information.
Prefered file format is 24/48kHz mono.
Channels should contain a descriptor identifying the speaker
location: (L, C, R, LF, RF, LS RS, LB, CB, RB etc)
STAGE LEFT STAGE RIGHT
LEFT CENTER RIGHT
LEFT-FRONT RIGHT-FRONT
LEFT-SIDE RIGHT-SIDE
LEFT BACK CENTER-BACK RIGHT BACK
If no LFE channel is provided, the playback software (Logic), will be
used to extract an LFE channel with an approximate 80Hz crossover.
Preferred deadline for receiving pieces, January 15, 2008
Kevin Austin / Mark Corwin
EuCuE Production team
kevin.austin "at" videotron.ca
Associate-Professor (Music) / (EuCuE) RF-302
Department of Music (Electroacoustic Studies)
Concordia University
7141, rue Sherbrooke o
Montreal, QC
CANADA H4B 1R6
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Technical note:
Please normalize all channels to around -1 dB.
Please check for DC offsets that will shift levels and produce
anomalies in the subwoofer(s).
Please check for 'rogue' spikes that may compromise average RMS levels.
For further information or special consideration, please contact me off-list.
Read more!
Wednesday, November 28, 2007
Zepplin 2008 - Soundworks
http://www.nmartproject.net/netex/?p=154#more-154
ZEPPELIN 2008
DEAFNESSES
Once again, Orquestra del Caos, announces its new edition of Zeppelin, Sound Art Festival, calling for sound works about the multiple “deafnesses” of the contemporary world.
There are many kinds of deafness. This year’s Zeppelin Sound Art Festival will focus on those that are barely noticeable, slowly and steadily undermining our hearing. We like to listen to noise and work with it, but we are aware that some noises often inoculate in us a sort of “mental deafness.” We would like to listen with our whole bodies, and to do so, we invite you to reflect on and make sound pieces that pay attention to the excess of talk, images, and sounds that constantly floods our ears disguised as “information”; to that never ending and repetitive clatter that political slogans wish to imprint in our minds and behaviors; to those strange sounds produced by the concentration of power; to the way we are continiuously made to think of ourselves as “clients” and “consumers” instead of citizens… we want to pay attention to the noise that deprives us of our own sounds. We want to ask what can we ultimately really listen to? What are the mechanisms behind this great mental and social deafness we are suffering? We want to raise this questions through your works, regarding them as listening tools that counteract the kinds of deafness that inhabit our times.
This is an open invitation for all those persons interested in these matters to submit their sound works.
The pieces will be presented in an eight-speaker system on March 13th, 14th and 15th 2008 in Centre de Cultura Contemporània de Barcelona.
REQUIREMENTS
All the pieces will be accepted as long as they fit the following requirements:
1. All works must be ten (10) minutes long or less
2. The works must be in AIFF or WAV format at 44.1 Khz & 16bits
3. The following information should be attached:
3.1. A brief description about the piece
3.2. Artistic biography of the author
3.3. A signed document authorizing or unauthorizing explicitly the desire to publish the piece on the internet
3.4. A signed document authorizing the inclusion of the piece in the sound art archive Sonoscop.
4. All works and documentation must be sent in CD/DVD before February the 15th 2008, to:
caos/ZEPPELIN/convocatoria
Centre de Cultura Contemporánia de Barcelona
C/Montalegre, 5
Barcelona 08001
España
More info: caos@sonoscop.net
…………………………………….
Orquestra del Caos/ Sonoscop
CCCB - C. Montalegre, 5
08001 BCN
t: +34 93 306 41 28
f: +34 93 302 24 23
caos@sonoscop.net
www.sonoscop.net
Read more!
ARTVantage grant
ARTvantage Grant Program
Agency: Maryland State Arts Council
Deadline: January 10, 2008
The purpose of this grant is to provide opportunities for people to experience and participate in a wide range of art forms and activities, enable arts organizations and artists to expand and diversify their audiences, extend the arts to underserved population and emphasize the potential of the arts to help strengthen communities. This grant must be submitted in collaboration with another non-profit organization incorporated in Maryland. Grant awards range from $5,000 - $10,000.
In preparation for the January deadline, “ARTvantage” information workshops have been scheduled for the following two dates:
+ Thursday, November 8, 2007 (4:00 – 5:30 p.m.)
+ Tuesday, November 13, 2007 (4:00 – 5:30 p.m.)
Both information sessions will be held at the Maryland State Arts Council on 175 W. Ostend Street, Suite E, Baltimore, MD 21230. To register, please email your name, your organization and the date of the workshop to Doreen Harmon at msac@msac.org. A member of the OURS staff will be attending one of the workshops so that notes and handouts will be available upon request if you are unable to attend.
URL: http://www.msac.org
Read more!
ITROW Faculty Mini-grant
http://www.towson.edu/itrow/FacultyGrants.asp
- New course development within the faculty’s department/discipline which will produce a course to be cross-listed (counted toward) the Women’s Studies major. Substantial restructuring/transformation of a current course with the goal of integrating women/gender topics throughout the syllabus will also be considered. Faculty receiving course development awards will consult with the Director of ITROW in the development or restructuring of a course and will be expected to offer the new or transformed course within a year of having received the grant.
- Scholarship focused on women/gender issues, or scholarship which contains a significant women/gender component. Faculty receiving awards for scholarship will be required to present their research/artistic creation in ITROW’s Women and Gender Faculty Colloquy series. Travel funds for presentation of such scholarship at conferences will also be considered.
- Campus-wide or departmental events focused on women/gender issues such as speakers, film series, and conferences.
Early Feb. for COFAC.
Read more!
SFMIME 2008 - Electroacoustic call
http://sfifem.csf.edu/SFIFEM_call.html
Submitted works are invited for the radio broadcasts on 'Other Voices, Other Sounds' KUNM 89.9 FM Albuquerque and via the web at kunm.org:
Recent (composed 2002 or later) works of stereo electroacoustic tape/recorded media music, preferably under 20 minutes in duration.
Note: tape/recorded media works are defined, for the purposes of this call for works, as pieces created in a studio environment, without live performers, using analog and/or digital synthesis/signal processing/mixing/editing systems as the primary creative medium. Recordings of live performances, MIDI transcriptions of instrumental pieces, etc. are not accepted.
Up to 3 works - Postmark by 1/1/08
Read more!
Monday, November 26, 2007
Honors College Course Proposals
http://www.towson.edu/applications/dailydigest/databases/news/20071120_035701PM_joschmid_31.asp
Do this!!!!!
Proposals due 1/4
These seminars will be one-semester courses (typically three units) and will be designed to enable students and faculty to examine areas that are not usually part of regular departmental offerings. Seminars in the Honors College should provide a robust and collegial discussion environment that is intellectually demanding. These seminars should support increasingly independent learning as well as application of disciplinary and interdisciplinary knowledge and methods to the larger academic, local, national, or global community.
The Honors College is especially interested in Lower level Honors seminars that allow for indepth study of fundamental issues, ideas, topics or problems. Emphasis for these seminars should be on developing and strengthening skills important to success in Honors and undergraduate education, including oral and written communication skills, reading skills, critical and creative thinking, civic engagement, etc. These seminars should satisfy a specific General Education requirement. The Honors College is also interested in reviewing proposals for Upper level Honors seminars that are designed to deepen knowledge about a particular intellectual issue and demonstrate the interconnectedness of academic disciplines. These seminars may incorporate moral or ethical thinking, problem-solving components, and independent writing projects as part of a culminating activity. These seminars should be designed to satisfy departmental requirements and will require approval from the home department.
Suggested honors components to coursework include the following:
an emphasis on primary texts over secondary works
a project that helps to broaden the disciplinary/interdisciplinary approach of the course
student organized events outside the classroom that build on the course material and
enhance the educational experience for students in the class or other students on campus
student participation in broader community or regional events related to course
student research on pedagogical or research methods (suggesting or implementing some of these innovative approaches during the course of the semester)
student taught sessions or portions of sessions more advanced disciplinary methods
This list is not comprehensive. To the contrary, the Honors Curriculum Committee welcomes other ideas and suggestions, as well as innovative approaches to pedagogy and course structure.
Read more!
Honors College Fellowships - at TU
http://www.towson.edu/applications/dailydigest/databases/news/20071120_040350PM_joschmid_32.asp
Apps due 12/14 for 1, 2, or 3 year fellowship
Read more!
Sunday, November 25, 2007
Crossing Borders - mixed media
http://www.collegeart.org/opportunities/listing/1924/
Crossing Borders/Crusando Fronteras, national juried
exhibition. April 19 – May 24, 2008. Juror, Judith Tannenbaum, Curator of Contemporary Art, RISD Museum. Entry: $20 for 3 entries, all media. Deadline: February 15, 2008. Guidelines www.heragallery.org or SASE, Hera Gallery, PO Box 336, Wakefield, RI 02880.
Read more!
Juxtapositions - Photography
JUXTAPOSITIONS is a thematic exhibition based on a comparison of imaginary and reality based art forms. The exhibition will be held at the Limner Gallery, April 3 -26, 2008 and is open for entry to all artists working in any media. $1000 cash award. Deadline January 31, 2008. On-line entry form at http://www.slowart.com/prospectus/juxta.htm or email slowart@aol.com, or send SASE to SlowArt Productions, 123 Warren Street, Hudson, NY 12534 SlowArt Productions presents the group thematic exhibition, Juxtapositions. This exhibition will focus on and compare imaginary and reality based visual art. Works in the show will be "juxtaposed" to facilitate analysis and comparison in the mind of the viewer. Art created from the imagination must be solely created from the imagination and must not use photography or models from life as a reference. Reality based art must use real life or photography for reference and may be photography, digital art or media art (painting, drawing, sculpture, collage, mixed media) that is created incorporating or using photography as reference. All media and methods are acceptable. The exhibition will be held at the Limner Gallery from April 3 - 26, 2008. A $1000 cash award will be presented to one artist from the exhibition. ELIGIBILITY: JUXTAPOSITIONS is open to all artists, national and international, working in any media. Entrants must be 18 years of age or older to apply. RESTRICTIONS:JUXTAPOSITIONS
Imaginary and Reality Based Art
April 3 - 26, 2008
IMAGINARY ART CATEGORY: Art in this category may be in any media or style, but must be created solely from the imagination. Subjects in the work may refer to real life objects, but neither real life nor photography may be used as a model for creating the work For example, a bird could be in a painting in this category, but only if it is drawn without looking at a bird or a photo of a bird. Photography is not acceptable in this category, digital art is acceptable only if it does not incorporate photography.
REALITY BASED CATEGORY: Art in this category may be in any media or style, but must be created by using real life objects or photography as a model for creating the work. For example, a bird could be in a painting in this category only if it is painted from looking at a photo of a bird, or from looking at a bird in nature. Photography and digital art incorporating photography is acceptable in this category.
Read more!
Photo Competition - Altered Landscape
The Altered Landscape Photography Competition
Newspace Center for Photography
(Portland OR)
Newspace Center for Photography invites you to Submit your images that you feel depict an "altered landscape." From simple and subtle ways like gardens, power lines and billboards to the more obvious like bridges, power plants and factories the impact of humankind is almost everywhere we turn.
The competition is open to photographers using any type of photographic process, color or black & white, traditional or computer generated/manipulated images. There are no restrictions on the date of the image(s).
Entries should illustrate or explore the theme described. Newspace encourages individual artistic interpretation of its theme. We believe this will make for more diverse and therefore more interesting exhibitions. Please don't hesitate to contact us with any questions.
The entry fee is $5 per image, you may enter as many images as you like. Fill out the entry form and submit it with your images via email or physical mail with images on a cd. Entry materials will not be returned.
The entry deadline is Friday, December 28th, The exhibition will take place at the Center from February 8th through 27th, with an opening reception Friday, February 8th 7-10pm.
Visit our website for full prospectus.
Read more!
Saturday, November 24, 2007
Hidrazone - Online Journal
http://www.nmartproject.net/netex/?p=178
Hidrazone,
the online digital arts journal, is pleased to announce forthcoming SPRING 2008 edition curated and edited by Helen Sloane of SCAN and designer/writer Bob Cotton
To commemorate the rebirth of broadcasting into a multi-channel and fragmented media form we are looking for artworks and written contributions that reconfigure audience experience through performance, installation, online work and PDAs.
Suggested formats and/or themes
- Installation
- Computational narrative
- Video and sound for handheld
- Video and sound networks
- VJ and live performance
- Peer casting/User generated content
- Broadcast archive content management
- New approaches to broadcasting
GUIDELINES
Web- based work can be hosted on the HIDRAZONE site or you may submit documentation (screen-grabs, audio files and/or video) in addition to URL’s. We are seeking work that is accompanied by some form of contextualization - this can be from a critical, technical, academic or philosophical perspective.
SUBMISSIONS
The next issue is TELENESIA
Jan 30 08 - deadline to email
Read more!
Thursday, November 22, 2007
National Audio Theater Script Competition
http://www.natf.org/script2008_rules.html
mid-November deadline
Read more!
3rd Coast Audio Festival
Check in May 2008
http://www.thirdcoastfestival.org/annual_competitions.asp
Read more!
Zeppelin Sound Festival
There are many kinds of deafness. This year’s Zeppelin Sound Art Festival will focus on those that are barely noticeable, slowly and steadily undermining our hearing. We like to listen to noise and work with it, but we are aware that some noises often inoculate in us a sort of “mental deafness.” We would like to listen with our whole bodies, and to do so, we invite you to reflect on and make sound pieces that pay attention to the excess of talk, images, and sounds that constantly floods our ears disguised as “information”; to that never ending and repetitive clatter that political slogans wish to imprint in our minds and behaviors; to those strange sounds produced by the concentration of power; to the way we are continiuously made to think of ourselves as “clients” and “consumers” instead of citizens… we want to pay attention to the noise that deprives us of our own sounds. We want to ask what can we ultimately really listen to? What are the mechanisms behind this great mental and social deafness we are suffering? We want to raise this questions through your works, regarding them as listening tools that counteract the kinds of deafness that inhabit our times.
This is an open invitation for all those persons interested in these matters to submit their sound works.
The pieces will be presented in an eight-speaker system on March 13th, 14th and 15th 2008 in Centre de Cultura Contemporània de Barcelona.
All the pieces will be accepted as long as they fit the following requirements:
1. All works must be ten (10) minutes long or less
2. The works must be in AIFF or WAV format at 44.1 Khz & 16bits
3. The following information should be attached:
3.1. A brief description about the piece
3.2. Artistic biography of the author
3.3. A signed document authorizing or unauthorizing explicitly the desire to publish the piece on the internet
3.4. A signed document authorizing the inclusion of the piece in the sound art archive Sonoscop.
4. All works and documentation must be sent in CD/DVD before February the 15th 2008, to:
caos/ZEPPELIN/convocatoria
Centre de Cultura Contemporánia de Barcelona
C/Montalegre, 5
Barcelona 08001
España
More info: caos@sonoscop.net
Read more!
Art @ Radio - UMBC
http://art-radio.net/
art@radio, invites artists to submit experimental music and sound works to be considered for broadcast. Works which explore concepts of serialism and ultra-rationality, aleatory and anti-rational, musique concrète, chance & non- music, text-sound composition, microtonal, lowercase, sound/noise, synthetic and ambient /space recordings are encouraged to submit.
Submission data:
Please include a statement and an artist statement, visual documentation of the event and/or designed instruments along with your submission include ur/emaill of current projects and samples. Also, indicate if your interested in your works being part of the podcast component of art@radio.
Broadcasting @ http://wmbc.umbc.edu/~artradio/podcast/artradio.xml
Read more!
Wednesday, November 21, 2007
Women's Electroacoustic Listening Room - Call
7th International Women's Electroacoustic Listening Room
The Listening Room Project is part of the 7th Annual Festival of New Music at California State University, Fullerton, California, to be held Thursday, February 28th - Sunday, March 2nd. This year's 7th Annual New Music Festival is a landmark year. After 6 years of celebrating Women in New Music the festival will move to an inclusive format-celebrating works by women composers along-side works by men composers. We look for inclusive in programming and works that bridge the divide between gender, culture, media. However, the International Women's Electroacoustic Listening Room Project will remain unaffected by these changes. The Women in New Music Festival features day-long playback of works by women in electroacoustic music. During the 6 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, humor and the unfolding of human dramas. This year the Women's Electroacoustic Listening Room focuses on the theme of Inclusive Voices: Healing the Divide.
Deadline: December 15. Submit your proposed CD recording of electronic work for inclusion in the International Women's Electroacoustic Listening Room Project. Maximum length 12 minutes. Please include: CD of proposed work, submission information: title of work, length of work, name of composer, contact information, program notes and short bio to address below. In addition, send all submission information: title of work, length of work, name of composer, contact information, program notes, short bio and inquiries by email to Dr. Pamela Madsen.
Read more!
MATA Festival - NYC - 2009 - Call for Score
http://www.matafestival.org/callforscores.pdf
MATA (Music at the Anthology) is currently accepting scores for consideration for commissions and performances for the 2009 MATA Festival in New York City, in the spring of 2009. Although commissions are only awarded to composers under 40 at the time of submission, composers of all ages who are at the early stages of their careers will be considered for programming on the festival. Commission amounts range from $1500 to $5000, depending on the parameters of the work. Composers are expected to attend the premiere of their work. Please include a sentence in your cover letter specifying if you would like your works to be considered generally for the festival in the event that you are not chosen for a commission. MATA will consider works of any instrumentation and duration; please send whatever you consider to be your best work. In addition to our traditional festival programming, MATA encourages submissions in the following sub-categories: 1) Site-Specific Works; 2) Electro-Acoustic / Computer Works; 3) Chamber Music for Wind Instruments.
Deadline: February 15. Materials for submission must include: 2 recordings of samples of recent work. A maximum of two works may be submitted (MIDI tapes will not be accepted), scores to accompany the above recordings (unless scores are not pertinent), biography or résumé, list of works, contact information, SASE if you wish to have your materials returned. If your music has been programmed by MATA, or you have received a commission, you must wait three years before re-applying. Only one commission will be awarded to any one composer in his or her lifetime. Send works to the surface address below. More information available on the web or by email.
Read more!
Another cool conference - and possible place to present paper/talk
http://www.changingthepresent.org/campusconference2008/play+a+role
| 24th Annual IMPACT: National Student Conference on Service, Advocacy, and Social Action | |
| Date(s): | March 7, 2008 - March 9, 2008 |
| Venue: | Northeastern University Boston MA |
Also
http://www.civicyouth.org/?cat=15
Read more!
Cool Conference & Link
http://www.upenn.edu/ccp/PHENND/events/2008conf.html
The Power of Place: Regional Higher Education Networks
for Community Transformation
Thursday, February 28 and Friday, February 29, 2008 at the University of Pennsylvania
They also have links to syllabi - service learning classes at Penn & NJ colleges.
Read more!
Service Learning Grant - Learn & Serve America
I don't know if this is the way to go, but it would be nice to have some funding for service learning in EMF.
http://www.learnandserve.org/for_organizations/funding/index.asp
The purpose of higher education grants is to expand participation in community service and service-learning by supporting innovative community service programs carried out through institutions of higher education that act as civic institutions to meet the human, educational, environmental, or public safety needs of neighboring communities. Emphasis is placed both on institutional change to support service and service-learning within higher education and on community problem-solving and capacity-building.
Date????
Read more!
BEA Call for Papers - 2008
Theme - New Communication Frontiers
Curriculum, Documentary, Gender Issues, Radio/Audio
The Broadcast Education Association invites scholarly papers from academics, students and professionals for presentation at its annual convention, in Las Vegas, Nevada.
The BEA2008 convention theme is "The New Communication Frontiers" and is intended as a focus for the convention, but does not imply that competitive papers must reflect that theme. Papers should, however, address the goals and objectives of the interest division to which they are submitted. Please check the BEA website (www.beaweb.org) for each division's specifics on submitting papers.
Each division selects up to six papers – four for presentation and two papers as alternates - that may be used. Please clearly mark the two alternates. In addition, a few papers may be selected by divisions for consideration in the Scholar-to-Scholar (poster) session.
Papers are submitted directly to the relevant divisions as either "Debut" or "Open" papers. The Debut category is open only to those who have never previously presented a paper at a BEA Convention. First and second place winners in Debut categories receive $200 and $100 to help defray their costs of attending the convention. If you have previously presented a paper at a BEA convention your submission category is “Open”.
Papers must be received by the appropriate division by Monday, December 3, 2007.
Submission Requirements:
* Length: not to exceed 30 double-spaced pages, including references and tables
* Style: use of APA style or a style suited to the discipline
* Abstract: abstract of less than 250 words to be included with submission
* Exclusivity: papers may not be submitted to more than one division during the same year
* Authorship: author's name, institution address, phone number and e-mail to appear on the cover page only (list all contact information for each author of multiple authored papers)
Cover page must include:
* the title of the paper and the division to which the paper is submitted
* any A/V requirements
* whether submission is an "open" or "debut" entry (any papers without such designation will be considered in the open category)
* Title: to be printed on the first page of the paper and on running heads on all subsequent pages
* Author Contact Information, including all contact information for each author of multiple authored papers
Copies: three (3) copies of paper must be submitted.
Convention Attendance
At least one (1) author of an accepted competitive paper MUST attend the convention to present the paper. Participants MUST be members of BEA and registered for the convention. Winners will be notified by February 8, 2008. Send papers directly to the following individuals:
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Radio Killed the Video Star - Call
http://www.nyfa.org/opp_detail.asp?type=Opportunity&id=95&fid=1&sid=54&oppid=18430
Laboratorio 060 is a collective based in Mexico City. As part of an exhibition of this group at the CUE Art Foundation in New York, the group is launching a worldwide call for entries for a musical composition that will be learned and performed by the three members of this collective on the day of the opening and later transmitted on the radio in New York.
The project Radio Killed the Video Star seeks to alter the homogeneous process by which entertainment is constructed and disseminated in our image-saturated media world. The ideal entries for collaboration should come from composers and musicians who may be interested in disseminating their work and in having their works interpreted by Laboratorio 060 –an artist collective without any professional musical experience— as part of this conceptual project.
Entries should have three instrumental parts (instrument or voice) which can be interpreted by three individuals, and have a duration of no longer than five minutes. The proposals will be evaluated and the final composition will be selected by the guest curator of the exhibition.
•Any sound artist and/or composer of any genre is eligible to apply.
•Special attention will be paid to those projects that take into consideration the specific context into which this performance will take place (an art space in Chelsea, and the radio)
•Each participant may submit up to 2 entries.
•Selection criteria will include: a) compositions with potential to infiltrate the radio in an effective and innovative way, b) works with an adequate balance between the three components, c) works with an experimental and playful character, even if they have political content; d) non-commercial works
•The selected composition will be performed at the CUE Art Foundation on March 13, 2008 by the members of Laboratorio 060.
Needs to be in NYC - 12/21/07
Read more!
Call for Papers - Electroacoustic Music
http://www.ems-network.org/spip.php?article224
Paper due 1/11/08, conference - Paris - early June
Musique concrète - 60 years later
Electroacoustic Music Studies Network - International Conference Series
5th Conference ‘EMS08’ 3-6 June 2008, Paris
Presenting EMS 08
When the first trains were “running out” off the loudspeakers during the concerts of Pierre Schaeffer’s Études, the audience must have been surprised and shocked with the notion that such mundane sounds could be used in music. Sixty years and thousands of musical works later, the shock factor is gone but our surprise remains in terms of the discovery of new musical trends on the unending road where technology is applied to music.
And yet, what do we know about electroacoustic music? It is vast domain with many actors, small and large; a domain that attracts composers from all around the world; a domain for any musician to explore. However it is a domain where few studies have been done in comparison to other domains; where methodologies and terminologies have yet to evolve that are capable of taking the complexity of electroacoustic music into account.
One of the main functions of the EMS Network is to promote and encourage the study of electroacoustic music, and to provide a regular framework for discussion and diffusion of the results. 2008 is a special year for this, a year for celebrating the past but also a year for new perspectives. Several trends will be explored during EMS08; before the meeting, there will be a special study session on the socio-political implications of electroacoustic music, Composing Today. This meeting and the EMS08 event will be hosted by the GRM (which will be celebrating its 50th anniversary) and the University of Paris Sorbonne. It will last three days and concerts will be performed during the event featuring the Asian Network (EMSAN) track; on the weekend immediately following EMS08 there will also be two concerts in the annual GRM series at the Salle Olivier Messiaen at the French Radio.
EMS 08 main theme
The main topic for the EMS08 will be the relationship between sound and music
Inventing new sounds for music: how do composers approach the production of sounds for their musical works, which methods and procedures they used? Influence of tools on music: Is the music the result of invention, or do tools determine the final result? Relations between sound and structure: what relationships exist between the sounds and the structure of the work? Are there significant trends in this domain? Sound terminology: is a physical or the morphological description efficient for characterising sounds? Has a need for new terminology appeared in any way?
Other EMS 08 themes
None of these is exclusive; any may be combined, others added. Criticism of the terminology, categories and assumptions made in this list will be perfectly acceptable. We also encourage papers from the margins of electroacoustic music and papers which discuss works in the fields of intermedia, installations, video music, multimedia, Internet-based collaboration, etc.
Analysis: What types of discourse are relevant to electroacoustic works? Which analytical methods are currently being developed? Can one adapt existent analytical methods of music to electroacoustic works, many of which involve no prescriptive notation? How can we further develop the field of study of electroacoustic musics?
Transcription and representation of sound, new audio-visual tools: How are analytical tools being produced and disseminated in the community? Which means are available for communicating this sonic artform through symbolic and graphic representations? Does the study of electroacoustic musics require specifically designed tools or can it take advantage of methods conceived for other musics?
Taxonomy, terminology - ‘meaningful’ units of music description: Which systems of classification are in use or should be developed? How can we become more consistent in our use of terminology in a field as dynamic as electroacoustic music?
Real-time music making: How can live performance/composition strategies be analysed? What is ‘live’ electronic music?
Performance, presentation, dissemination: What is the ‘work’? New presentation spaces, technologies. Internet communities, group compositions and performances.
Listening, Intention-Reception: Issues of perception and interpretation. How do the composer’s intentions relate to what is perceived?
Semiotics/semiology, ‘meaning’: What (and how) do different electroacoustic music genres express?
Soundscape, sound ecology: Analytical tools for the understanding of soundscapes. New approaches to sound ecology, sonification, sound environment.
Genres/styles, ‘languages’: Questions of unity, diversity, plurality, multicultural resources, polystyle, hybridisation, ‘local music’
Gender issues: Have gender balances shifted since the early days? The relationship between technology/electroacoustic music and gender. Unrecognised contributions: revising history.
Electroacoustic music in East and South-East Asia: The EMS 08 conference will include a special EMSAN track. EMSAN (Electroacoustic Music Studies Asia Network) is devoted to the study of the development and practices of electroacoustic music in East and South-East Asia. All contributions are welcome.
Furthermore ... Proposals concerning any other themes related to electroacoustic music studies, such as sources and resources are most welcome.
Read more!
Call for Papers - Intermedia
http://www.newmediacaucus.org/media-n/content/fall_2007/call_for_papers.html
We invite papers that explore the theme of Intermedia and its relation to the ever-evolving state of New Media.
Themes that could be explored (but are not exclusive) include:
- Definitions of Intermedia
- Distinctions, as they exist, between inter, multi, and trans- disciplinary practice, and the implied boundaries.
- New relationships created between artists and audiences through Intermedia practices.
- Connections to pre-digital practice. The term Intermedia predates cyberspace and digital media, yet it seems comfortable with them.
- Intermedia in digital arts programs: the development of digital arts programs around a process of integration, and the integration of proximal areas of interest or histories.
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Futuresonic 2008 - Call for Submissions
Manchester - early May 2008
http://www.futuresonic.com/08/getinvolved.html
Futuresonic Art Award - Submissions
A commission valued at £5000 is available for a new project responding to the Social Networking Unplugged theme. Support will also be available for a limited number of other projects, and Futuresonic invites submissions of projects that do not require funding from the festival.
Transforming the city into a space of experimentation, making it come alive. Futuresonic's art strand features exhibitions, performances and interventions, including many world firsts, with a focus on social and participatory artworks which re-imagine the city.
Futuresonic transforms lived city spaces, not just occupying spaces temporarily vacated by their commercial owners. In 2007 Futuresonic commissioned 3 artworks responding to the social context of one of the UK's main shopping centres.
There are 3 ways to have a project included in the Futuresonic Art strand:
i) A commission valued at £5000 is available for a new artwork
ii) Futuresonic can offer financial support to a limited number of other projects
iii) Projects can be accepted that do not require financial support from the festival.
All will receive full marketing benefits and management support.
This submission form should be used for all of the above. All proposals submitted will be considered for the commission, and unsuccessful submissions will automatically be considered for other sources of support.
Deadline: 5pm, Tuesday 18 December 2007.
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The theme of Futuresonic 2008 and its Art strand is Social Networking Unplugged. It will be "unplugged" in a number of ways. There will be artworks involving offline (or unplugged) collaborative social experience and face to face social interaction. Other projects will look at who is excluded and left out of the loop of Web 2.0, and so "unplugged" in another way. Also there is the sense of pulling out the plug in order to take the new social spaces apart, see how they work, and put them together in new ways.
Projects can involve online, mobile or offline social networking. They can enable people to experiment collaboratively with different kinds of social experience and social interaction. Or they can intervene in the forces, inequities and inequalities that shape society.
Today we can occupy many different social spaces at once. How can we make visible the unspoken rules and etiquette that guide what we do in public places? Who are the social revolutionaries? The misfits? The conformists? Who has been left outside?
Futuresonic will also be working in different ways with communities across Manchester and invites community groups to get involved. Its easy. All you have to do to participate is to reflect on, explore, perform your nature as a social being.
The exhibition will be viral and ambient. It will not always be clear where it begins and ends. How does the meaning and experience of social interaction change when recontextualised as art?
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Art (12/18/07), Panel or Paper (12/18/07), Music/sound (2/7/08), event (2/7/08)
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Reconnect US Call
http://reconnectus.org/
An artist-curated, multi-media exhibition that brings together diverse expressions of the War in Iraq. In these times of extreme political division and inadequate or biased media coverage, the exhibition will engage the American public in a broad-based dialogue that promotes awareness, understanding, and healing. Through the universal language of art, the exhibition seeks to give a human face to the complex conflict in Iraq and to engage those who have unconsciously cocooned themselves from the fearsome reality of the war. We ask the questions: Â What does it mean to experience this war firsthand, in combat, or as an Iraqi civilian? What does it mean to experience it from a distance, or on television? How can we in America reconnect to the reality of war? Are there shared visions of peace despite cultural and religious differences? The work will be selected on artistic merit and look to include as many perspectives as possible, beyond politics.
The call goes out internationally to both soldiers and civilians for video, audio, photography, drawing, painting, sculpture, installation and the written word. The show will be shown simultaneously in the Pawtucket Armory, Machines With Magnets and the Cable Car Cinema, in Pawtucket and Providence, RI, from March 5th to 30th, 2008. These first venues are a 2000sq. ft. gallery and two screening rooms. The show may travel. The show may continue as a website, book and as a DVD.
Entries due 1/12/08, if selected, work due in Feb 08
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ICMC 2008 Call
The Sonic Arts Research Centre at Queen’s University, Belfast, in association with the International Computer Music Association and the Sonorities Festival of Contemporary Music, is proud to be hosting ICMC 2008. The Conference will take place between 24-29 August 2008 in Belfast, Northern Ireland.
THEME
The theme for 2008 is ‘Roots/Routes’. The Conference explores notions of placement and displacement in the context of music practice. It provides an opportunity for the investigation of the interface between technologies which develop through international collaboration and the specificity of music cultures rooted in a place.
The theme can be addressed through papers, compositions, installations and performances which explore the sense of place and context in relation to sound and technology. A growing list of conference topics can be seen on the website (see ‘Themes’ and ‘Recent Comments’ on www.icmc2008.net). We welcome contributions to the debate on this site. In addition to submissions addressing the conference theme, the organising committee welcomes submissions on all traditional areas of computer music.
Call will be online 12/1, submissions due 1/28, the conference is in Ireland - late August
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Japanese Roads Making Music
http://www.guardian.co.uk/japan/story/0,,2209972,00.html#article_continue
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Humanities Grant
http://www.grants.gov/search/search.do?&mode=VIEW&flag2006=true&oppId=16010
I'm thinking about this for: audio doc on highway or maybe something else....
Grants for America’s Media Makers support media projects that explore significant events, figures, or developments in the humanities and offer creative and new approaches to humanities content.
America’s Media Makers projects promote:
- active exploration and engagement for broad public audiences in history,
- interactivity that excites, informs, and stirs thoughtful reflection and urges applicants to consider more than one format for presenting humanities ideas to the public.
- enable greater audience engagement with the humanities,
- encourage dialogue and discussion, and
- foster discovery-based learning across the age spectrum.
NEH offers two categories of grants for media projects, Development Grants and Production Grants.
Development grants enable media producers to collaborate with scholars to develop the humanities content and format and to prepare programs for production.
- including but not limited to meetings and individual consultations with scholars, location and archival research, preliminary interviews, preparation of program scripts, designs for interactivity and digital distribution, and the creation of partnerships for outreach activities and public engagement with the humanities.
- The product of development grants should be the refinement of the humanities ideas, a script, or a design document for (or a prototype of) digital media components or projects.
- may also result in a detailed plan for outreach and public engagement in collaboration with partner organizations.
applicants must have a solid command of the major humanities scholarship on the subject, have clarified the ideas the project will consider, and have consulted with a team of scholarly advisers to work out the intellectual issues the program will explore.
Applicants must:
-have made preliminary decisions about the format and storyline and located essential materials for the program(s).
- have recruited the appropriate media professionals, especially the producer, writer, or interactive designer.
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Hello to, well, myself
This blog is actually a place where I can publish the calls & grants I'm interested in working on, as well as a place to put my work, other than just my website - elsalankford.com.
So, the person I expect to be seeing mostly at this site is me.
Others are welcome, but I expect to see mostly myself waving back at me.
-Elsa
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