Call for Scores

MIAMI ISCM WMD CALL FOR SCORES (APRIL 1 DEADLINE) - please excuse
cross listings

The Miami Section of the International Society for Contemporary Music
(ISCM) at Florida International University (FIU) is pleased to
announce a call for scores for submission to the 2009 World Music
Days being held in Sweden September 24 to October 4 of 2009. As an
Associated Section of the ISCM we will be submitting up to 6 works to
represent the USA at the festival. Although the ultimate programming
choices are made by the festival, in only our 6th year submitting
works we are proud to be able to state that a number of works chosen
by our panel and submitted to the WMD have been selected for
inclusion in several of these important international festivals. Most
recently music by William Kleinsasser, Aaron Cassidy, and Dorothy
Chang has been selected by us and the festival and presented at these
events. Composers whose works are selected by the WMD Festival will
be guests of the festival. The expenses of their stay in Sweden will
be covered by the organizers for a period of 3 days.

Please note that this call is for US composers only (i.e. citizens or
permanent residents of the US).


[Edit: There are details about the forces available. Please consult the site.]


For more information about the Miami ISCM please visit our web page located at
http://www.orlandojacintogarcia.com/index.php/34

[big edit]

All submissions are due by April 1, 2008. Selected works will be
announced in July. Submissions that do not meet the conditions or
deadlines specified will not be considered.

Please send all materials to:

Orlando Jacinto Garcia, ISCM Miami Section
Florida International University
School of Music WPAC 145B
Miami, Florida 33199 USA

For more information regarding the World Music Days please visit the
ISCM page at http://www.iscm.nl/

For more information about the Miami ISCM please visit our web page located at
http://www.orlandojacintogarcia.com/index.php/34

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Tuned City call

Call for Performance Proposals: Tuned City - Between sound and space
speculation

Tuned City is seeking proposals for short performances and artist
presentations addressing issues of sound and architecture. These
proposals should relate to one or more of the topics listed below, and
should include links to online documentation of the proposed
performance/presentation, or to similar work by the same artist/author.
The deadline for proposals is April 30 2008, but proposals will be
considered as they are received. Please submit proposals in English.

ADDRESS: proposals@tunedcity.de


ABOUT TUNED CITY:

Tuned City - Between sound and space speculation is an exhibition and
conference project planned for 1-6 July 2008 in Berlin which proposes a
new evaluation of architectural spaces from the perspective of the
acoustic. The project draws the traditions of critical discussion about
urban space within the architecture and urban planning discourse–as well
as its strategies and working methods–into the context of sound art.
This expanded discussion reinforces the potential of the spatial and
communicative properties of sound as a tool and means of urban practice.

At the foundations of this event are artists’ works and theoretical
approaches which examine in a critical and sensitive way the given urban
and architectural situations alongside their resulting socio-political
implications, that re-use existing spaces or that conceive and open new
spaces.

A dialog will be built at the intersection of both disciplines which
traces out the complex relations and interactions of space-sound, both
presenting and testing new strategies, methods, possibilities and
potentials of sound work within the artistic and applied context.


TOPICS:

The Built Space:
- examples that illustrate phenomena, problems or possibilities in the
relation of sound and architecture
- usage of architecture as a space for sound and as an instrument

The Public Space:
- relation of sound and city
- situated sonic practices, site-specific sound awareness
- sound as a system of social communication, division and defense
- mobile sound

The Imaginary / Speculative Space:
- hearing-space - virtual acoustic spaces
- sound space in relation to human anatomy, memory and psyche
- mechanics and principles of translating sound into architecture and
vice versa


PRODUCTION TEAM:

Carsten Stabenow
Gesine Pagels
Carsten Seiffarth
Derek Holzer
Anke Eckardt
Anne Kockelkorn

CONTACT:

garage
Kastanienallee 73
10435 Berlin
www.tunedcity.de
email: tc@tunedcity.de
Tel.: 0049 / 30 / 44052612
Fax: 0049 / 30 / 44357415

--
derek holzer ::: http://www.umatic.nl ::: http://blog.myspace.com/macumbista
---Oblique Strategy # 13:
"Are there sections? Consider transitions"

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Art of Record Production - Call for Papers

Call For Articles for the Journal on the Art of Record Production
Issue 3: Editor - Simon Zagorski-Thomas
Deadline: 30th May 2008

Themes:

• Business Models and The Production Process
This would involve articles on issues such how changing production
techniques on the question of authorship, copyright and even the
ontology of music. It could also include articles on how artists and
producers are developing new business models in the face of the rapidly
changing industry.


• Recording and Mix Techniques
This would involve articles on the various ways that producers and
engineers shape the sound of a recording through the use of microphone
selection and placement, the use of room ambience, equalisation, dynamic
processing, effects, editing techniques, stereo or surround mixing
techniques etc. They might describe techniques used / developed / made
famous by particular individuals or more general treatises on common
practice, the psychoacoustics of particular techniques etc.

Please submit completed pieces for peer review:
Full article: 5 – 7,000 words
Position paper: 3 – 5,000 words
Provocations: up to 1,000 words (pieces by industry professionals
or academics designed to stimulate debate)

Please send submissions to: simonzt@artofrecordproduction.com
http://www.artofrecordproduction.com

Read more!

Radio Ephemera

http://www.thirdcoastfestival.org/shortdocs_2008_archive_about_RE.asp
(pictures and more info about the books)

A collaboration with the Prelinger Library - a very special collection of books, documents and other cultural bits — from the concrete & tangible to the abstract & etherized.

The Third Coast Festival's 2008 audio challenge invites producers, artists, writers and radio fans of all stripes (newbies to veterans) to submit finished audio works (aka Radio Ephemera) inspired by two books from the Prelinger Library, including the voice of a stranger, and lasting 2:30 – 3:00 minutes

"Trees as Good Citizens" Charles Lathrop Park, 1922
"Control of Body and Mind" Frances Gulick Jewett, 1908
"The Big Strike" Mike Quin, 1949
"Trailer Ahoy! " Charles Edgar Nash, 1937
"The Stork Didn't Bring You!"[The Facts of Life for Teenagers] Lois Pemberton, 1948


Guidelines:

Radio Ephemerizing is easy as pie!

> Each Radio Ephemera (RE) submission must clearly reference two of the five selections displayed above. We leave it to you to find a connection that’s literal, metaphorical, or somewhere in between. You'll get a general sense of each book through the cover and title, and can also browse through each one (digitally) for text, details and further ideas for your production.

> Each submission must fall between 2:30 and 3:00 minutes in length.

> "Include the voice of a stranger" means just that. This can be a random street interview or an excerpt from film or tv, or any other manifestation of someone else's voice. Songs/music technically count, but seem the far too easy/obvious route, to us. Instead, we recommend that you actively seek out conversations, exclamations, declarations, etc.

> RE submissions may be documentary, fictional, or a hybrid of both.
> RE submissions will be accepted April 1 – midnight, August 3rd, 2008.
> Producers are limited to three RE submissions.

And an important one:

> Submissions that include the use of sound (beyond voices) are especially welcome. After all, it IS a radio project. Let the sounds help.

Questions? Check out the RE FAQ or just ask us directly.

How to submit to Radio Ephemera:

Email an mp3 of your audio submission to thirdcoastfestival@gmail.com.
Or mail it on CD to:

Radio Ephemera
Third Coast Festival
Chicago Public Radio
848 E. Grand Ave.
Chicago, IL 60611

Please include the following information:

- Producer name
- Mailing address and phone number (won't be publicized)
- Affiliated website (will be publicized)
- One-sentence summary of your submission
- List the two books from the Prelinger Library relevant to submission
- Note the stranger whose voice you've included

Read more!

Creative Capital Grant - missed it this year :(

2008 Grants:
Emerging Fields, Innovative Literature and Performing Arts
Emerging Fields may include digital arts, gaming, sound art, architecture, design, interdisciplinary projects, and new genres.

Innovative Literature may include poetry, fiction, nonfiction, and genre-defying literary work.

Performing Arts may include dance, music theater, experimental music performance, non-traditional opera, spoken word, theater/performance art, puppetry, and interdisciplinary projects.

Inquiry time was 2/4-3/4/08

May not be for another 4 years....

2010 is film & visual arts, but I'll check it out again then.
Read more!

Call for Music - Sound & Music Computing Conference

5th Sound and Music Computing Conference (SMC08)
Berlin, Germany, July 31th - August 3rd 2008

TU BERLIN
Audio Communication Group
GERMAN ASSOCIATION OF ELECTROACOUSTIC MUSIC (DEGEM)

Space in Sound – Sound in Space
Call for music

http://www2.ak.tu-berlin.de/~smc08/
----------------------------------------------

Sound and Music Computing (SMC) is supervised jointly by AFIM
(Association Française d'Informatique Musicale), AIMI (Associazione
Italiana di Informatica Musicale), DEGEM (Deutsche Gesellschaft für
Elektroakustische Musik), and HACI (Hellenic Association of Music
Informatics).

It aims at promoting exchanges between European countries around
topics related to sound and music computing, and to give them an
international dimension.

The Fifth SMC 08, will be organised by the German Association of
Electroacoustic Music (DEGEM) in collaboration with the Department of
Audio Communication , Technische Universität Berlin / Germany. The
conference will take place at Technische Universität Berlin, July
31st - August 3rd, 2008.

Every era develops its specific, culturally defined awareness of
space as well as forms of its aesthetic reification. In music, we can
trace a development from an architectural place of sound to the
symbolical space of formal and structural projections and finally to
the imaginitiv, musically immanent space of compositional fantasy.
From thereon the actual space can be functionalised musically as one
possibility, it can, however, also be opened to and expanded by
technical spaces.
These, as digital simulations, enable both universal manipulation
and boundless scaling.

Thus, the conception of an "acoustic cyberspace" (Harenberg, 2003)
which is technically primarily
conveyed by time modes becomes constitutive for new aesthetical
conceptions of form as well as for the generation and manipultion of
sounds.

The historical circle is opening nowadays, as the early form and thus
structure giving functions of space of the Renaissance as technical
and structural augmentations of compositional and formal principles
are finding a new "language of sound and form" through the acoustic
"Pearly Gates of Cyberspace" (Wertheim, 2000), which technological
fundamentals, backgrounds, fantasies and current applications the
SMC wants to fathom and investigate.

The Department of Audio Communication at the Technische Universität
Berlin, Germany, has at its disposal the worldwide biggest
permanently installed wave field synthesis system in its 700 seats
lecture hall.
During the 5th SMC „Space in Sound – Sound in Space“ works for this
system will be performed.
Moreover, this system will be augmented by the nearly 50 channel
Sound Dome of the ZKM Karlsruhe, the GRM Paris Acousmonium as well as
the from inside accessible Sound Globe of the HfG Karlsruhe which is
made of more than 50 speakers.

This combination of these divers sound systems allows a combination
of the systems themselves with their individual qualities as well as
enabling an analytical listening of the same works on diferent
systems under constant acoustic conditions.

The submitted works may be intended for the individual systems as
well as any possible combination thereof.
The scope of the works may range from single channel monophonic works
to multi-channel works for Acousmonium, Sound Dome or Sound Globe up
to Wave Field Synthesis or any combination of these systems.

Technical details about the systems to be installed will be shortly
described on the homepage of the SMC08:

http://www2.ak.tu-berlin.de/~smc08/

Works presented will have to suit any of the following categories or
respectively combinations of these:

(1) Acousmatic works

(2) multi channel works (Sound Dome, Sound Globe)

(3) works for wave field synthesis.

Concerning works for intrumentalists and /or live-electronics please
contact us personally prior to submission as there is only a limited
budget available. Visual componets such as video /DVD are welcome.

Please send in the following formats: Audio-CD, DAT, DVD-Audio.
Videos please as DVD-Video, Stereo or 5.1, PAL or NTSC.
Other formats are only permitted after prior consultation.

We would hereby like to invite all interested to apply with suitable
works for the SMC 08 „Space in Sound – Sound in Space“. New as well
as already performed pieces are welcome.
Participation is open to any composer.

Works should not exceed a duration of 15 minutes.

The submitted pieces will be selected by a jury.

Participants of the SMC08 will not receive any fees. The event will
be registered with the German royalty collectors society GEMA.

DEGEM-WebRadio

During the SMC 08 the DEGEM WebRadio will be the medial platform of
the conference. It is our intend to create thus an international
medial forum.

In addition to the "SMC 08" you may also apply at the same time with
a production on the topic „Space in Sound – Sound in Space“ for the
programm of the DEGEM WebRadio which is also curated by the jury.

Any production should not exceed a duration of 30 minutes. Please
note that all works will be broadcasted in stereo and converted
into mp3 with a maximal resolution of 192 kBit/s.
Please indicate in your application if you are applying for the SMC
concerts only, the programm of the DEGEM Webradio only, or for both.

Competition Conditions

The selection of the works will be anonymous. Wokrs can be submitted
both by post or upload.
For application form and further information on the application
process please visit:
http://www2.ak.tu-berlin.de/~smc08/

Deadline for Application:
Wednesday, May 15th 2008.

You may upload your work directly onto the server of the Technische
Universität Berlin. For application form and further information on
the application process please visit:
http://www2.ak.tu-berlin.de/~smc08/

If you want to submitt your work by post please sent it to:
SMC 08 - Music
TU Berlin
Audio Communication Group
Sekr. EN-8
Einsteinufer 17c
10587 Berlin




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Call for Papers - Sound & Music Computing Conference

International???

5th Sound and Music Computing Conference (SMC08)
Berlin, Germany, July 31th - August 3rd 2008

TU BERLIN
Audio Communication Group
GERMAN ASSOCIATION OF ELECTROACOUSTIC MUSIC (DEGEM)

Space in Sound – Sound in Space

Call for papers

http://www2.ak.tu-berlin.de/~smc08/
-----------------------------------

Sound and Music Computing (SMC) is supervised jointly by AFIM
(Association Française d'Informatique Musicale), AIMI (Associazione
Italiana di Informatica Musicale), DEGEM (Deutsche Gesellschaft für
Elektroakustische Musik), and HACI (Hellenic Association of Music
Informatics).

It aims at promoting exchanges between European countries around
topics related to sound and music computing, and to give them an
international dimension.

The Fifth SMC 08, will be organised by the German Association of
Electroacoustic Music (DEGEM) in collaboration with the Department of
Audio Communication, Technische Universität Berlin, Germany. The
conference will take place at Technische Universität Berlin, 31
July-3. August 2008.

Every era develops its specific, culturally defined awareness of
space as well as forms of its aesthetic reification. In music, we can
trace a development from an architectural place of sound to the
symbolical space of formal and structural projections and finally to
the imaginitiv, musically immanent space of compositional fantasy.
From thereon the actual space can be functionalised musically as one
possibility, it can, however, also be opened to and expanded by
technical spaces.
These, as digital simulations, enable both universal manipulation
and boundless scaling.

Thus, the conception of an "acoustic cyberspace" (Harenberg, 2003)
which is technically primarily
conveyed by time modes becomes constitutive for new aesthetical
conceptions of form as well as for the generation and manipultion of
sounds.

The historical circle is opening nowadays, as the early form and thus
structure giving functions of space of the Renaissance as technical
and structural augmentations of compositional and formal principles
are finding a new "language of sound and form" through the acoustic
"Pearly Gates of Cyberspace" (Wertheim, 2000), which technological
fundamentals, backgrounds, fantasies and current applications the
SMC wants to fathom and investigate.

The Department of Audio Communication at the Technische Universität
Berlin, Germany, has at its disposal the worldwide biggest
permanently installed wave field synthesis system in its 700 seats
lecture hall.
During the 5th SMC „Space in Sound – Sound in Space“ works for this
system will be performed.
Moreover, this system will be augmented by the nearly 50 channel
Sound Dome of the ZKM Karlsruhe, the GRM Paris Acousmonium as well as
the from inside accessible Sound Globe of the HfG Karlsruhe which is
made of more than 50 speakers.

The submitted papers should deal with all aspects of spatial sound.
Historical, aesthetic, general, technical as well as system specific
aspects of spatial sound systems may be discussed. The length of an
individual lecture is 30 minutes.

Deadlines:
Topics and abstracts of 200-300 characters have to be submitted by
May 1st 2008.

The final lectures have to be submitted by June 15th 2008 in order to
compile the proceedings. The maximal length is 12 pages.

All submitted papers are subject to an examination of a jury. The
jury may decide to not admit a submission as a lecture at the SMC08
yet still to publish it in the proceedings.

Submission:
You may upload your abstracts as well as your papers directly onto
the server of the Technische Universität. For all information
necessary please go to http://www2.ak.tu-berlin.de/~smc08/

If you want to submitt your work by post please sent it to:

SMC 08 - Papers
TU Berlin
Audio Communication Group
Sekr. EN-8
Einsteinufer 17c
10587 Berlin




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Vanishing Landcapes call

"Vanishing Landscapes" Charleston, SC Annual Juried Art Exhibition
Posted by: Angela Chvarak of the Coastal Conservation League at (843) 723-8035, angelac@scccl.org
Deadline: April 24, 2008
The City of Charleston Office of Cultural Affairs and the Coastal Conservation League of Charleston announce the call for entries for Vanishing Landscapes, the 2008 Piccolo Spoleto Juried Art Exhibition at the City Gallery at Waterfront Park. Celebrating its 30th year, Piccolo Spoleto presents South Carolina's finest artists against the backdrop of Spoleto Festival USA.


The deadline for submissions is Thursday, April 24 at 5:00pm. A complete call for entries may be downloaded from www.piccolospoleto.com or www.coastalconservationleague.org. The 24th annual exhibition is open to all South Carolina artists. Two dimensional, three dimensional and photography will be included. Prizes awarded include: 1st place: $500; 2nd: $300; 3rd: $150 and six Honorable Mentions. Artists will be asked to specify if artworks are available for consideration for the Mayor's Purchase Award: $500-$1,000.

Submitted works must be environmentally themed, but not limited to landscapes or fauna. Juror will be looking for contemporary themes related to the state of our planet and its environment. Thematic examples include: destruction of wetlands, climate change, air/water quality, forestry, sustainable living, etc. Works may be abstract, but must read as environmentally themed pieces.
Location: Angela Chvarak, Coastal Conservation League, P.O. Box 1765, Charleston, SC 29402, US
Web link: http://www.coastalconservationleague.org/

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Aspect DVD publication - call

Open Call - VOLUME 12: VITAL
Posted by: 617.695.0500Deadline: March 26, 2008
ASPECT, a biannual dvd publication, is currently accepting submissions of work best documented in a time-based format for Volume 12: Vital. This issue will explore that which is essential, grave, indispensable, and/or critical to existence.

The staff of ASPECT is asking curators, artists, art critics, and members of the contemporary art community to help assemble and comment on works for the next issue by submitting a work of art on which they wish to provide audio commentary. Due to the format of the publication, the criteria for selection will include both the qualifications of the commentator and the quality of the work submitted. Audio recordings of the commentary will be assembled after the submissions have been selected. For submission information, please see website.
Location: ASPECT: The Chronicle of New Media Art, 46 Waltham Street, suite 103 , Boston, MA 02118, US
Web link: http://www.aspectmag.com/about/newsdetail.cfm?newsItemID=15

Read more!

Unfamiliar Ground

http://www.galleryrfd.org/exhibitions/new_media/New_Media_Prospectus.pdf
4/15 deadline

Artists of the 20th Century were among the first to break
away from the traditional forms of art by exploring mixed
media. New media broadened the way people think and
communicate through their art. Unfamiliar Ground will
thoroughly explore this brave new world.

Cash prizes will be awarded for Best of Show and Juror's
Choice.

Guest Juror: Paula Katz
Assistant Curator of Art, Columbus Museum of Art
Submission Deadline: April 15th
Read more!

College Art Association call - 2009

http://www.collegeart.org/pdf/CallforParticipation2009.pdf
Deadline 5/9/08
Different topics - see whole call


The "Tangiality" of Digital Media
Paul Catanese, San Francisco State University, paulc@sfsu.edu; and
Joan Truckenbrod, School of the Art Institute of Chicago,
jtruckenbrod@saic.edu
With digital media, there is a radical shift in our sensory perceptions
as they evolve to absorb, incorporate, and adopt the immateriality
of the virtual. Consequently, materials of digital media are
multimodal; the virtuality of the screen erupts as intervention with
the materiality of paper, video projection, and objects or space in
installation. Inherent in this media is a reexamination of the idea
of material, as artworks are sited on the threshold of tangible and
intangible materials. Artists are invited to discuss how they
embrace hybrid methodologies in their studio practice. Papers
may address: Where are materials situated? Is material considered
substance, engagement, or embodiment? How does material
as code intersect with material as physical? How has this shift
precipitated a hybrid of virtual coordinates, physical locations,
and social engagement? How does digital artwork manifest as
choreography, visual artifact, and substance?

From Eye to Ear and Back Again: The Intersection of
Visual Art and Modern Musical Composition
Carey Lovelace, independent critic, 105 Duane St., #40E, New York, NY
10007
At the turn of the twentieth century, painters such as Wassily
Kandinsky turned to contemporary music to provide models for
new forms of abstraction. Conversely, the avant-garde composer
John Cage, with his aleatoric compositional method, had
a profound effect on visual artists such as Robert
Rauschenberg and Allan Kaprow, ushering chance into artmaking.
Meanwhile, several noteworthy musicians have created
"graphic scores," visualizations of sound that are themselves
works of art. And artists such as Christian Marclay use
themes of sound in their works. This panel, open to scholars
and artists alike, invites papers exploring areas or examining
contributions of specific practitioners within the fascinating
cross-fertilization between art and the fringes of advanced
classical music, with an emphasis on overview.

The Ecological Imagination: From Land Art to Bioart
Rita Raley, University of California, Santa Barbara, Dept. of English,
Santa Barbara, CA 93106-3170
This session considers the relations between art and ecology,
from land art to recent work in bioart, including transgenic art and
artificial life. Scholars of contemporary and new-media art are
invited to find connections among unframed art practices as
seemingly diverse as those of Robert Smithson and Eduardo Kac.
Also invited are panelists who can think about relations between
contemporary ecological art practices and discourses on
bioethics and biopolitics. What imaginaries of "life" are produced
by the art practices of Karl Sims, the Critical Art Ensemble, and
others? How might we understand artworks that invite our empathetic
identification with artificial creatures? From earthworks to
geographic-information systems, how have our notions of visualizing
landscapes been altered? What aesthetic and political commitments
can we trace in visualizations of climate and other environmental
data? Papers might focus on any art practice or movement
in the twentieth and twenty-first centuries.

Land Use in Contemporary Art
Kirsten Swenson, University of Nevada, Las Vegas, Art Dept.,
4505 Maryland Pkwy., Las Vegas, NV 89154-5002
This panel explores themes of land use in art since the 1990s.
Interventions, data collection, mappings, imagined geographies,
and temporary and permanent modifications of the landscape by
artists and collectives have involved roles and strategies that are
continuous with practices of scientific investigation, policymaking,
habitation, tourism, and land stewardship. The Center for Land
Use Interpretation, Andrea Zittel's High Desert Test Sites, and the
work of Francis Alÿs and Cai Guo-Qiang are but a few examples
of artists or collectives who have realized new conceptions of land
art or represent examples of contemporary art engaged with
social aspects of land use. Are now-historical categories of land
and environmental art, associated with earthworks, nonsites, and
environmental actions produced from the 1960s through the
1980s, conceptually relevant to new land-based practices? How
might epic, ongoing projects such as Michael Heizer's City and
James Turrell's Roden Crater be situated against more recent
artistic strategies and among social and historical shifts in the
American West? Papers critically analyzing the practice of artists
or collectives that exemplify new approaches to land art or are
engaged with contemporary discourse on land use are welcome.


Read more!

Society of Environmental Journalists - Radio Entry - April 2009

Well, it's April 2008 too, but I won't have anything done by then

Radio story up to 10 minutes long

Outstanding Story, Radio—A single radio report, up to ten minutes long, on an environmental subject.
Prize: $1,000

Outstanding Beat/In-depth Reporting, Radio —Up to five radio reports, with a combined total running time of no
more than 60 minutes, on one or more environmental subjects.
Prize: $1,000

http://www.sej.org/
Read more!

Paul Robeson Fund - Grant

May 15th deadline
Guidelines not up yet - should be up soon


Funding Guidelines for 2008 [PDF] are now under revision. You may reference the guidelines currently posted - linked and denoted as 'Application' in the green box on this page - with respect to overall criteria for these funds, but please do not use them in drafting any applications as some requirements and application forms will change for this year's cycle. Please read down for more information.

"When I started a youth media organization a few years ago, I never knew that finding funding for media work, even from progressive foundations, would be next to impossible. The Robeson Fund has believed in us from the very start. It took the courage of the Robeson Fund to give a substantial grant to our fledgling project. Simply put, because of that $7,500 grant, we were able to send media organizing trainers into three public schools for a six-month period. The students are now young media makers who are creating work that is being aired nationally, garnering recognition and awards."

Deepa Fernandes
Hear Our Voices/Radio Rootz
Robeson Fund Grantee


Named to honor singer, actor and civil rights activist Paul Robeson, the Fund supports media activism and grassroots organizing by funding the pre-production and distribution of social issue film and video projects and the production and distribution of radio projects, made by local, state, national or international organizations and individual media producers. The Fund solicits projects of all genres that address critical social and political issues, combine intellectual clarity with creative use of the medium and demonstrate understanding of how the production will be used for progressive social justice organizing.

The maximum grant award is $20,000; most grants range between $5,000 and $15,000. The Fund has one grant cycle a year, and the postmark deadline is May 15th.
GUIDELINES:

The Paul Robeson Fund for Independent Media Funding Guidelines for 2008 [PDF] are now under revision. You may reference the guidelines currently posted with respect to overall criteria for these funds, but please do not use them in drafting any applications as some requirements and application forms will change for this year's cycle. Guidelines for The Paul Robeson Fund for Independent Media are expected to be posted by the end of February. We do not begin accepting applications until April 15th for the May 15th postmark deadline.

The OUT & Saguaro Funding Guidelines and Application Form for 2008 are now posted! Please do not use guidelines or application forms from previous years in drafting any applications as some requirements and application forms have CHANGED for this year's cycle. Updated guidelines for the The OUT Fund and the The Saguaro Fund are posted under these pages. We begin accepting applications as of February 1st for the March 1st postmark deadline. (For 2008 only, the postmark deadline is extended to Monday, March 3, 2008.)

FEX Activist-Advised Funds - and National Office Grantmaking Programs in general - support progressive social justice organizing work in the U.S., its territories and jurisdictions. Until further notice, there are no international grantmaking programs.

Read more!

Call for submissions - Art & Ecology

Works at the Intersection of Art and Ecology
The Canary Project
(Brooklyn NY)

For 40°, 73°: Works at the Intersection of Art and Ecology, The Canary Project seeks 3 artists to create site-specific works in Brooklyn (40°N, 73°W), that engage the public in experiencing global ecology, locally situated. The work should resonate with specific places throughout Brooklyn and the daily lives of the people that live there. The public works will be implemented during a one- to three-week period in late September to early October 2008 and will culminate in a presentation at the Old American Can Factory, in Brooklyn. Following the artists’ presentations, a panel consisting of community leaders, arts practitioners, and local ecologists will respond to the work.


40°, 73° is a project produced by The Canary Project, an organization that produces visual media, events, and artwork that build public understanding of human-induced climate change and energize commitment to solutions. In addition to producing original work, Canary collaborates directly with artists through logistical support, financial support, creative brainstorm/formation, and/or the project's distribution. Depending on the format, the works are incorporated into our exhibitions, publications, presentations, education projects, and website. Collaborating artists include Eve Mosher, Frtiz Haeg, Josh Kit Clayton, Jon Santos, and others.

About the Jury
Submissions will be reviewed by a jury that includes:
Nathan Elbogen, Director of XO Projects and The Old American Can Factory
Marisa Jahn, Artist & Co-Founder of Pond: art, activism, and ideas
Jeff Kastner, Senior Editor of Cabinet Magazine
Edward Morris, Executive Director of The Canary Project
Tricia Watts, Curator of ecoartspace and Sonoma County Museum

Applicants will be notified about the status of their application by April 10, 2008.


How To Apply
To apply, please send the following information by mail or email:
- Curriculum Vitae or bio
- Artists' Statement
- Project Description
- 10-15 representative images supporting your proposed project and other related work with links to online portfolios if available, etc.
- your contact information
- if you send a submission by email, please include a self-addressed self-stamped return envelope (otherwise your work will not be returned)

The Canary Project at The Old American Can Factory
attn: Marisa Jahn, Project Director
232 Third St #A107
Brooklyn, NY 11215
marisa@canary-project.org

Deadline to receive submissions: March 15, 2008, 6 pm

We strongly encourage interested applicants to send an initial email briefly explaining their project to Canary's Project Director, Marisa Jahn, at marisa@canary-project.org or by phone at 415-254-9151.


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Enterprise Foundation - Urban Journalism

http://www.enterprisecommunity.org/programs/awards/excellence_in_urban_journalism_award/default.asp

Excellence in Urban Journalism Award Details
The annual award, offered in partnership with The Freedom Forum, encourages and recognizes quality reporting on major issues facing the nation's urban areas, particularly inner cities. The award is open to professional journalists who work in a variety of formats and submissions may be made by individuals or teams. Two winners will be selected and each will receive an award and a check for $2,500.

Topics may include, but are not limited to:

* Housing
* Community development
* Homelessness
* Child care
* Disasters that have left people homeless and communities destroyed (e.g., Hurricane Katrina)

Supporting evidence of the effectiveness of the item, such as letters, editorials, etc., is welcomed.

Maybe for March 2009
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Call for Soundart

call: soundart for SoundLAB VI

February 27, 2008 at 10:03 am · Filed under calls: internal, soundart

Call for proposals
Deadline 30 November 2008

For its 6th edition, planned to be launched in March 2009, SoundLAB would like to demonstrate the power of sound as a tool for artistic creations, and is therefore looking for soundart works, or more precise, sound compositions which represent a real challenge for human imagination.

SoundLAB - sonic art project environments
http://soundlab.newmediafest.org
is happy to launch the call for its next edition, entitled:

SoundLAB VI - soundPOOL
sound compositions - a challenge for imagination

In 2004, SoundLAB was launched as a corporate part of the global networking project [R][R][F]200x—>XP - http://rrf200x.newmediafest.org
on occasion of BEAP - Biennale of Electronic Art Perth/Australia 2004
but started soon also acting individually as an environment for sonic art.

Edition IV was launched in October 2006 under the title
“memoryscapes” - incorporating 144 artists and 235 soundart pieces
dealing with “memory and identity” in most different ways,
and it became corporate part of the media art show
://selfportrait - a show for Bethlehem - a show for Peace
http://self.engad.org - presented in Palestine, Poland, Italy and Argentina, as an individual project it participated 2007 in FILE Hipersonica Sao Paulo
and FILE Rio 2008.

Edition V - soundSTORY - sound as a tool for story telling
was launched 2007 in the framework of NewMediaFest2007
presented online and on Int. Digital Art Festival Rosario/Argentina 2007 and
DIGITAL MEDIA 2008 Valencia/Spain

SoundLAB Editions I - V - can be visited on http://soundlab.newmediafest.org



___________________________________________
Please download regulations and entry form as PDF

Regulations for
sound compositions to be submitted

1. Theme: soundPOOL - sound compositions a challenge for imagination
2.. one single piece of soundart may be submitted
3. exclusive soundformat: mp3
4. duration: minimum 3 min, maximum 15 min
5. each submission has to accompanied by an artists statement
about the creation of the sound work, used tools & concepts
6. the artist/author keeps all rights on the submitted soundwork and statement
7. the work to be submitted has to be posted on a webpage for download,
including artist bio and statement
7a. –> if no own website is available, alternatively the film can be submitted via an upload/download service, for instance, SENDSPACE - www.sendspace.com - a free service, after upload send the link, and CologneOFF downloads the film then.
8. the complete entry form including the requested info material
has to be submitted via email

___________________________________________
Entry form
___________________________________________

artist/author

full name
email
URL
short biography/CV (not more than 300 words in English)

Work

title (one work only)
year
duration
URL for download
statement (no more than 1000 words in English)
.
Confirmation/authorization:
The submitter declares and confirms
that he/she is holding all author’s rights
and gives permission to include the submitted work
in “Soundlab” until revoke.
Signed by (submitter)
___________________________________________

Please cut and paste this form and send the complete submission, including artist bio and statement in plain email, RTF file format or WORD. doc

to
soundlab@newmediafest.org
subject: Soundlab edition VI
.

Deadline: 30 November 2008
___________________________________________

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