organized sound journal - sound art

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!

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 and must include the words "ATMI
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!

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!

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!

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.
-------
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!

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

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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.



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