Sunday, November 30, 2008

SoundImageSound call

This might need to be for next year, since I don't think I've seen this call until just now.

SoundImageSound VI - Friday, February 13, 2009
Submission Postmark Deadline – Monday, December 8, 2008

With SoundImageSound VI the Conservatory Computer Studio for Music Composition (CCSMC) in combination with the Conservatory of Music, University of the Pacific presents the seventh year of concerts featuring the work of artists who cross boundaries to combine the aural and the visual. For information about previous events go to:

Original works that combine sound and visual image in any style will be considered. Individual artists or collaborating teams may submit. For fixed works the visual elements may be still or moving image projected from DVD. If you wish to use an alternative format (computer HD, mini-dv, etc) inquire before submitting. Works requiring multiple projections may be considered. Unique or unusual equipment required for the presentation of a particular piece will be the artist’s responsibility.
Taking advantage of a newly constructed venue on campus, this year SoundImageSound adds both a club concert and live performance to its usual presentation of works for “fixed media”. Artists may submit works in any or all of the following categories -

Concert I - Fixed media concert works for multi-channel sound (2 - 5.1) and video.
Concert II - Works for multi-channel sound (2 - 5.1) and video appropriate for presentation in a club setting.
Live performance works - combining live computer music and video for either concert.
A single artist will be selected and invited to perform during SIS VI.

Submission Materials (clearly identify fixed media, club, or live):
For concert proposals - DVD of the proposed piece
For live performance proposal - DVD or URL documentation of your work
Include a cd with:
Brief program notes (200 words)
Brief artist bio (200 words)
Email and snail mail address - Required for contact

Mail to -
Robert Coburn
SoundImageSound VI
Conservatory - UOP
3601 Pacific Avenue
Stockton, CA
USA 95211

Artists will be notified by December 15, 2008. All submissions will be placed in the library of the CCSMC. If return is required include a SASE. Artists selected for presentation are encouraged but not required to attend.
Questions or further information contact -

Robert Coburn
Chair - Dept. of Music Studies
Program Director - Composition and Music Theory
Artistic Director - SoundImageSound and ensemble 20/21
Conservatory - University of the Pacific

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Thursday, November 27, 2008

For the masses...

I created this blog for me, and it probably is just me that looks at it. But if you do find any calls for entry for audio or sound or service learning that aren't on here - please let me know - either through email or through a comment or something.

Or if you want to collaborate on a project with sound - let me know. And yes, I do realize I'm probably just talking to myself....
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Wednesday, November 26, 2008

The Missouri Review - Audio competition

Audio & Video Competition Guidelines (2008)
[View the 2007 winners here.]

These guidelines are also available in PDF format. You can download the entry form here.

The Missouri Review invites all writers and writers/producers to participate in our 2008 Audio & Video Competition. We have categories suitable for all kinds of writers.

Voice-Only Literature

If you have a short story, a piece of creative nonfiction, or poetry that you think worthy of recording, enter this category. Pieces in this category are author-read and will not contain other tracks of sound (no music beds or sound effects, etc.) Entries will be judged on literary merit and technical proficiency. Note: Poets may enter one or more poems as a single entry as long as the total recorded time does not exceed the six-minute limit. A how-to guide (MS Word doc) for creating your own recordings is available here.

Time: 6 minutes or less.

Category Award Amount: $1500; $500 each sub-category

Narrative Essay

Just as in a personal essay, the subject matter and approach is broad. The “I” is present, and the essay is authorread. Additionally, the entry may contain additional layers of sound, including music, ambient sounds, sound effects, etc. Entries will be judged on literary merit, technical proficiency, and use of sound.

Time: 7 minutes or less.

Category Award Amount: $1,000.


This category is devoted to pieces that examine in some depth a time, place, person, event, pastime, trend, or other noteworthy topic. Entries will be judged on the strength of the writing and reporting, technical profi ciency and use of sound.

Time: 10 minutes or less.

Category Award Amount: $1,000.


Filmmakers, videographers, screenwriters, and playwrights, enter the Creative Short category. This broad category includes everything from a filmed scene that stands on its own to a videographed 10-minute play to a comedic or satiric sketch, as well as other video/film shorts. Other writers, video and film artists, enter the Video Documentary category. In addition to short documentaries on any subject or historic period, interviews of authors and author presentations are welcome, as well as any topic of interest to a general literary audience. Entries will be judged on strength of the script and subject, ability to meet its objective (stated or unstated i.e., a comedic short that’s funny, or an author interview that is informative, fresh and insightful), technical proficiency, including sound and lighting, and acting talent, if appropriate to the category.

Time: 10 minutes or less.

Category Award Amount: $1,000; $500 each sub-category.

Editors’ Choice Award

Also, up to 5 finalists selected from all categories will receive the Editors’ Choice Award and a cash prize of $100 each. Winning entries will be featured on the website of The Missouri Review, as podcasts, and made available to subscribers.

All entries must be produced in English.
Entry Fee And Deadline

$24 for each entry. You may send multiple audio or video pieces in a single envelope, but each piece must be submitted on a separate CD or DVD. (For example, three entries on three CDs, with a total payment enclosed of $72.) Each entrant receives a one-year subscription to The Missouri Review magazine.

Entries must be postmarked by December 1, 2008.

Payment may be made by credit card, check or money order. Checks in US dollars should be made payable to The Missouri Review.

Technical Requirements

Audio entries are accepted on CD only. CDs should not contain any audio other than entry material. Submit video entries on DVD as video (not data) that can be read by a standard DVD player for TV or computer screening.

Submissions Must Include

a completed entry form for each entry (download the entry form)
a copy of the entry on a CD or video DVD, labeled with writer/ producer, title and length
a brief program synopsis (short writer/producer bio optional)
the entry fee payment
Send Entries To

The Missouri Review Audio & Video Competition
357 McReynolds Hall
University of Missouri
Columbia, MO 65211

For More Information
E-mail us at:

A basic how-to guide for producing simple voice recordings is available here (MS Word file).

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Third Coast Audio Festival

Calls for entries announced - May 2009
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Sunday, November 23, 2008

New Media Caucus Call
Call for Papers media-N spring edition, 2009
Theme:Foreignness and Translation in New Media.

Guest Editor for this special issue is Pat Badani, Assistant Professor, Integrated Media, at Illinois State University, Normal, Illinois, U.S.A.

This issue will deal with the relationship between foreignness and translation in new media. We look forward to a discussion on the idea of foreignness seen as an investigation surrounding notions of travel, displacement and migration beyond those tied to the geographical movement of populations.

We are interested in the broad practice of translation in new media, in the use of an electronic system that mediates and enables the movement from one state to another. We also welcome submissions exploring the specific notion of cultural translation and migration in new media. That is to say, we are interested in a discussion on cultural markers that are displaced into foreign and extraneous locations, languages, supports and genres.

This issue expands the debate initiated during the Colloquium Foreigners in Art and Technology held at Espacio Fundación Telefónica in Buenos Aires, Argentina (August 12 & 13, 2008).

The scope of this issue is double: theoretical and practical. We welcome submissions on critical thinking and studio practices. Artists and theorists are invited to discuss their artwork and/or critical thinking in this area.
Please submit via email to: Pat Badani at pbadaniilstuedu

Deadline: February 14, 2009

Event reviews:The editorial board also invites proposals for reviews of exhibitions, events, festivals, conferences, etc. See examples of reviews in the current issue.

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International festival
call: Festival of Visual Arts & New Media Casablanca
November 18, 2008 at 6:34 pm · Filed under calls: external, digital, new media, performance

Call for entries
Deadline: 15 January 2009

Internat. Festival of Visual Arts & New Media 2009

The Center of Visual, Electronic Arts & Multimedia, will organize the 2nd edition of the
Festival (FAN) from 30 March to 04 April 2009 in Casablanca.

After the success of the Festival’s first edition, the organizers prepare the 2009’s event
with the same enthusiasm. A local and international program of well known artists mixing
performing arts, video, electronic music, dance, sound creation and new media will be in the
schedule of the next edition’s program.

Many venues of Casablanca and other Moroccan cities will host performances, shows,
interactive video and multimedia installations and screenings.

The festival will be also the occasion for young artists to acquire new knowledge through
workshops. The young artists will be given the opportunity to show their talents in the
framework of a video competition: “The international competition of art schools and cinema”
and the competition “Videos Pocket”.

Academic researchers and specialists will be invited to an international colloquium entitled
“Digital arts and Culture: towards new identities?”, to discuss about the issues linked to
the contemporary creation.

Professional artists and young creators in visual arts and new media wishing to participate
in FAN 2009, are kindly requested to send a DVD copy of their work with a CV and technical
information (title, year of realization, duration, synopsis, technical team, etc.) to the
following address:

Festival International des arts visuels et des nouveaux médias (FAN)
Rue Jbel Bouiblane N° 6 Triangle d’or
Casablanca, Morocco

Deadline: 15 January 2009

To request more information:

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Saturday, November 22, 2008

WRO 09 Expanded City
13th Media Art Biennale – 20th Anniversary Special Edition

WROCenter for Media Art Foundation announces the international competition WRO 09 Expanded City.

The Competition is aimed at artists, producers, distributors and rights holders who explore novel forms of artistic communication, created within the field of electronic media. The competition encompasses screenings, installations, objects, performances, multimedia concerts, net and interactive projects, etc.

Every entrant may submit up to three works created after 01.01.2007.

Entries can be submitted with the online entry form available at In order for a work to be registered in the Competition, it has to be posted to the competition office along with a filled-in and signed printout of the form.

The presentation of works chosen in the preselection for the Competition finale will take place during public showings with Jury throughout WRO 09 Biennale.

The deadline for submissions is 15 February 2009.

* 15.09.2008: Opening of the competition and the online entry form
* 15.02.2009: Submission deadline
* 5 – 10.05.2009: WRO 09 competition and main events
* 5.05 – 7.06.2009: WRO 09 exhibition, National Museum, Wrocław

WRO Art Center
ul. Widok 7, 50-052 Wrocław, Poland |

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FLEFF Festival

Due 1/11/09, festival in March in Ithaca.

The Finger Lakes Environmental Film Festival (FLEFF) is a weeklong festival of film, video, music, new media, gaming, installations, workshops, forums, and discussions that explores the theme of sustainability and the environment within a larger global conversation that embraces a range of political, economic, social, and aesthetic issues, including labour, war, health, disease, intellectual property, software, remix culture, economics, immigration, archives, HIV/AIDS, women’s rights, and human rights.

The online digital media exhibition for FLEFF 2009, sticky-content, takes as its title a popular Internet term for content that gets users to return to web sites or networks, spend time on these sites or networks—and perhaps leave something behind. While stickiness derives from economic theory and incorporated into commercially driven marketing practices, the online exhibition for FLEFF 2009 seeks to redirect and reroute stickiness into the politicized realms of tactical media, open-source and P2P models, experimental coding, user-generated content, interactive and generative interfaces, and reverse engineering. The exhibition calls attention to web-based media that remix and rewire our understanding of environmentalism—media that foregrounds ways that environmentalism affects subjectivities and promotes positive social change.

The curators of sticky-content are looking for submissions of online digital media that explore issues related to the four content streams of this year’s festival: spice, syncopation, toxins, and trade. (See detailed descriptions of content streams below.) Submissions working within the digital divides of the global North and South, of the wired and wireless worlds, are of particular interest. Selected works will be exhibited and archived on the festival’s official web site. We are particularly interested in tactical media, indigenous media, locative media, migratory archives, web-application and video mashups, online computer games, activist video; work that is open source, user generated, and interactive; work designed for mobile screens; work that makes environmentalism—broadly defined—not only sustainable, but sticky!

sticky-content aims to deploy potentially progressive aspects of globalisation, such as digital technologies, networked systems, and wireless communication, as a means to prompt critical discussion on the often repressive aspects of globalisation, including the rapidly accelerating disparity among populations in terms of wealth, power, and access to basic human rights. sticky-content aims to demonstrate that environmentalism is not just about nature, but about our collective experience.

FLEFF 2009 will take place from 30 March to 05 April 2009 in Ithaca (New York), USA; sticky-content will go live on the Web on 30 March 2008.

Visit for the curators’ essay and descriptions of selected works last year’s exhibit ubuntu.kuqala, as well as the 2007 exhibit, Undisclosed Recipients, and under previous festivals.

Please send links to submissions for specific content streams with a brief bio in an email to *BOTH* Dale Hudson (Amherst College) dhudson

Only work that can be exhibited online can be considered for this exhibit. Media artists working in offline formats, should contact the festival co-directors, Thomas Shevory shevory and Patricia R. Zimmermann

Submissions by employees and students of Ithaca College, Middlesex University (London), and the Five Colleges (Amherst College, Hampshire College, Mount Holyoke College, Smith College, and the University of Massachusetts Amherst) cannot be considered.

FLEFF 2009 content streams:

Syncopation: Syncopation avoids regular rhythm. Syncopation accents the weak rather than the strong beat. It changes metrical patterns. It disrupts the listener’s expectations. It drives forward. It deviates from the succession of regular beats. It accents the unstressed, the off-beat, the back beat, the downbeat, the rest, the missed beat, the unexpected. It disrupts the regular flow. It displaces metrical patterns. Syncopation defines ragtime and jazz, blues and rock ‘n roll. But it also erupts in Bach, Bartok, Bernstein and Stravinsky Syncopation splices bodies to beats in dance music. Nearly every musical form outside the European classical tradition pulses with syncopation: rai, bhangra, zydeco, tango, tejano, hip hop, reggae, rhumba, bluegrass, cumbia, arabesque, high life, salsa, gamelan, raga. Repetitive rhythmic patterns can produce boredom: syncopation livens everything up.

Spice: Spice transforms simple ingredients into complex flavours. Spices travel from east to west and west to east. Chilli migrated from Mexico to India to the Middle East. A luxury, a route to paradise, a medicine, a status symbol, a preservative, a seasoning, and an aphrodiasiac, spices were valued and rare. Pepper is the most ubiquitous; saffron, vanilla and cardamon, the most expensive. Spices have included herbs, garlic, sugar, chocolate, coffee and tea. The spice trade propelled mercantilism, exploration, piracy, and navigation. It also unleashed colonialism, conquest, crusades and commodity trade. The earliest globalisation, the spice trade built entrepots like Venice, Mecca, Malacca, Singapore, Lisbon, Amsterdam, Istanbul. Spices trigger biopiracy and spark fusion cuisines. Sambal, zaatar, curry, duqqa, masala, nam prik: the blending of spices constitutes the essence of cooking.

Trade: Fuelled by the desire for necessity and luxury, trade begins as barter, a simple exchange. But trade evolves, perhaps inevitably, into complex structures of accumulation and loss. Trade greases the wheels of interaction and historical change, while fostering exploitation and conflict. Trade generates bubbles of speculation and collapse, the cycle of boom and bust. Trade’s excesses inspire vast systems of discipline and regulation. These regimes are in turn undermined by the imperatives that make them necessary. Trade leaks into subterranean networks: the skin trade, the slave trade, the drug trade, trade in blood and body parts, genetic codes and illicit carbon. Trade is eBay and craigslist, the fair trade coffee shop and the Shanghai Stock Exchange, corner kids and Wall Street. Trade is marked by mutability and pervasiveness.

Toxins: From the Greek, toxin, an archers’ bow. Toxins hit their targets. Toxic effects can be invisible, subtle, widespread and deadly. Toxins attack populations, species, regions, and classes. They create risk pools that drown the vulnerable: the young, the sick, the old, the poor. Toxins implicate modernity itself with the spread of cities, industries, markets, chemicals, racism, inequality, and environmental decline. As they migrate, toxins trace the geographies of political power, appearing in multiple and insidious forms: PCBs, dioxins, plutonium, DDT, mercury, heroin, nicotine, asbestos. But few if any can escape the reach of toxins. They accumulate and spread across porous boundaries: Gulf of Mexico dead zones, post-Katrina neighbourhoods, Chinese textile mills, Southern California tomato fields, Manhattan apartments, Chernobyl, Bhopal; the cells, synapses, and genetic nuclei of us all.

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Future festival

Biennial, took place in Sept 2008 in Portugal.

Radio art.
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Some sites to look at later
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Shut up & listen festival - next year

Sound art & visuals.


Held in November, so call would probably be due in May or so? Start looking in March
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Friday, November 21, 2008


Vienna sound/video festival

Installs - sound art, remixing, sounds with visuals.
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SEAMUS Conference - 2010

Entries due in October.

Do this next year!!!!!
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Wednesday, November 19, 2008

2 internal conferences

Forbidden Places - 1/15/09 200 word abstract due

Geo-aesthetics - 1/6/09 200 word abstract due (soundscape)
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dog art

I know.... but I do have some great pictures of Vinnie....

Wichita, Kansas
Deadline: January 14, 2009
Posted: 10/27/08

Exhibit Dates: March 3rd thru April 6, 2009
Title: 2009 Art Show at the Dog Show
Sponsors: Sunflower Cluster Dog Clubs & Purina Chosen by Champions
Venues: CityArts, Century II & Kansas Coliseum
Awards: Cash awards of $8100.00
Jurors: Dr. Robert J. Berndt, Dede LaRue & Jay Nelson
Eligibility: All artwork must include a dog or dogs in the subject matter. The competition is open to all artists 18 years of age or older. Works must be original and must have been executed solely by the person in whose name they have been submitted. All entered artwork must be priced & for sale.

Fees: $40.00 per artist for up to four works in US funds.
Commission: 30%
Send SASE to: Art Show at the Dog Show, 7520 Oak Tree Lane, Kechi, KS 67067-9010
E-mail: Patricia Deshler
Phone: 316/744-0057

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Film on H2O

Bellows Falls, Vermont
Deadline: April 15, 2009
Posted: 10/9/08

Exhibit Dates: mid August - mid November, 2009
Title: H2O: Film on Water
Awards: first prize: $5000; second prize: $2500; third prize: $1000
Eligibility: Videos should be no longer than 10 minutes in length; ideal video length is 4-8 minutes. Videos must be single channel (playable on a laptop computer / dvd unit). Submissions must be provided on dvd in ntsc format. All video work must be current, e.g., from the past 18 months. If you want your submission returned, include a self-addressed stamped envelope (S.A.S.E). All works without S.A.S.E will be destroyed for the work's protection.
Fees: $40.00
E-mail: Alexis Dohas
Phone: 802-463-3330
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Hun Gallery - NYC - includes audio

New York, NY
Deadline: January 15, 2009
Posted: 11/18/08

Exhibit Dates: March 6-26, 2009
Title: Hun Gallery International 2009
Sponsor/Venue: Hun Gallery
Awards: Being invited to exhibit in a Solo show, Group shows and Art Expo
Eligibility: Open to all artists, national and international, over the age of 18. Works must have been created within the last three years. There are no specifications regarding the content of the works. All media are eligible (Painting, Drawing, Printmaking, Sculpture, Photography, Video, Installation, Audio and Digital, and Computer Art). Artists may submit work with special requirements if the artist will be available to install. 2-dimensional work should not exceed 48"(h) x 36"(w). 3-dimensional work should not exceed 36" in any dimension. Video, Audio should be no longer than 20min.

Fees: $30
Send SASE to: Hun Gallery International 2009, Hun Gallery, 12 West 32nd St. 3Fl., New York, NY 10001, USA
E-mail: Ji Hun Lee
Phone: 1-212-594-1312

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GLBT call

Long Beach, California
Deadline: January 18, 2009
Posted: 11/6/08

Exhibit Dates: March 7 - April 2, 2009
Title: Being Gay: A Visual Dialogue Between Straight and/or GLBT Artists
Sponsor: 2nd City Council Art Gallery + Performance Space
Venue: 435 Alamitos Avenue, Long Beach, CA 90802
Awards: $500, $300, $200, $100 + the infamous Eye-Opener Statue
Jurors: David Burns, Austin Young & Matias Viegener
Eligibility: All media except video and motion film. Slides, photographs or email submissions accepted. Topics to explore include (but are not limited to) faith and homosexuality, gay history, sense of community, effect on professional life or society, gay neighborhoods, fashion, homophobia, straight people in gay places, ageism in the gay community, gay role models, ordinary lives, coming out,

gay icons or heroes, discrimination, homosexuality as an evolutionary puzzle, integrating into society, political issues, is tolerance enough?, marriage, PRIDE, engaging in gay rights issues across cultural and religious borders, feelings associated with being gay, regional differences, gay as a main identifier, gay friends or family members.
Fees: $10 per entry Members, $20 per entry non-members; Gallery or Online Volunteer Hours ok
Commission: 30%
Send SASE to: 2nd City Council, 435 Alamitos Avenue, Long Beach, CA 90802
E-mail: Cheryl Bennett
Phone: (562) 901-0997

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Lange-Taylor Documentary

Deadline: January 31, 2009
Posted: 11/17/08

Title: Dorothea Lange-Paul Taylor Prize
Sponsor: The Center for Documentary Studies at Duke University
Awards: $20,000; work will be featured in Document (a periodical published by the Center for Documentary Studies), as well as in a virtual gallery on the CDS Web site
Eligibility: The prize is intended to fund collaborative work by a writer and a photographer in the formative or fieldwork stages of a documentary project. Submissions on any subject are welcome. Collaboration is essential to the nature of the work this award supports; therefore, individual submissions will not be considered. More than two people may apply as long as one of the collaborators is a writer and one is a photographer working with black-and-white or color still photography. Individuals currently associated with the Center for Documentary Studies are not eligible for the prize.
Fees: $40
Send SASE to: Lange-Taylor Prize, Center for Documentary Studies, 1317 W Pettigrew St., Durham NC 27705
E-mail: Alexa Dilworth

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Solo Exhibit call - Torpedo Factory

2009 Open Exhibition
Show Dates: October 28-November 29
Artist's Reception & Gallery Talk: November 12, 6-8pm; Gallery talk at 7pm
Deadline for Entries: February 2, 2009
Chosen artist will recieve a $500 stipend and a small catalog to accompany the exhibit.

This is an annual exhibition opportunity for an artist to have a solo exhibition in the gallery. This is an Open Call for proposals for an exhibition in the fall of 2009. This call is open to all artists from North America working in all visual media. Proposals for exhibitions by both individuals and groups will be considered. The individual or group associated with the chosen proposal will receive a solo exhibition at the Target Gallery from October 28 - November 29, 2009.

Jury Process & Panel
A three part panel consisting of artists and art professionals not affiliated with the Torpedo Factory Art Center will review all applications. One non-voting representative from the Target Gallery will also be present during the final group review.

Lia Newman - Director of Programs and Exhibitions at Artspace in Raleigh, NC. There she is responsible for organizing more than thirty exhibitions per year as well as maintaining and initiating educational programs for both youths and adults. Newman has served as a juror or panelist for several arts organizations and colleges in the southeast.

Paul So - Visionary founder for both the Hamiltonian Artists and the Hamiltonian Gallery. He is a painter and a physics professor at George Mason University. The Hamiltonian Artists and the Hamiltonian Gallery were founded to create a new institutional structure in Washington DC to support emerging artists, broaden cultural dialogue within the community and make visual art accessible to a diverse audience.

Philippa Hughes - Founder of The Pink Line Project, an organization dedicated to building community and transformation through art. Pink Line creates alternative art experiences that are provocative, accessible, and fun. Philippa has been a longtime art collector and recent arts activist. Her blog was named as the best arts and culture blog in DC by DC Modern Luxury and the Washington Post recently included her on its list of young and influential people in the DC art scene.

Directions for Entry
Written proposals and CVs are to be submitted in hardcopy and digital Word Document format on CD. Please provide a clear and concise description of the work to be exhibited, outlining the main themes and ideas, and describing how the work will be installed in the gallery space.

Image entry will be PC compatible JPEG digital files only. Review will be by digital image only. We regret that we cannot review images via email. CDs must contain the artist’s name on both the actual CD and the case. JPEGs should be no larger than 300 dpi at approximately 4 by 6 inches. All digital files must be in JPEG format and must include the artist’s name and title of the submission (smithpainting5.jpg). Please do not use quotations or spaces in file names. (Artists may submit up to 30 images for consideration)
Video and time-based submissions should be both PC and Macintosh compatible. Files should be submitted in .MOV format. You may NOT submit VHS tapes. Website links will not be accepted as submissions.

Please download prospectus for complete guidelines and instructions on how to enter. Image entry will be by PC compatible JPEG digital files only. We no longer accept slides as a form of entry.

Download Prospectus (Online entry is not available for this exhibition)

For a hard copy of prospectus, send a SASE to:
Target Gallery
Torpedo Factory Art Center
105 North Union Street, Alexandria, VA 22314

Call: 703-838-4565 x 4

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Reclaimed - Torpedo Factory

Show Dates : April 1 - April 26, 2009
Deadline for Entries: January 13, 2009
Artists' Reception & Gallery Talk: April 13, 2009, 6-8pm; Gallery Talk at 7pm

Reclaimed, an exhibition that focuses on everyday common objects that are reclaimed, recycled, reinterpreted and transformed into art. From Marcel Duchamp’s “ready-mades” to Robert Rauschenberg’s “combines”, artists have been for years recycling and reclaiming everyday common objects and transforming them into something new and unique. This exhibition is open to all artists nationally and internationally to submit work that has been reclaimed and transformed into their own personal artistic statement.

Juror: Steven and Linda Krensky
Steven and Linda Krensky are avid art collectors and gallery owners. They have a contemporary art gallery in Baltimore known as Light Street Gallery. The gallery came about for their need for more space so that they could continue to collect art but also to help promote artists.

Directions for Entry:
Image entry will be PC compatible JPEG digital files only. Review will be by digital image only. We can only accept email submissions via the online submission form (see link below). Images of up to three works may be submitted and $10 for each additional image. CDs must contain the artist’s name on both the actual CD and the case. JPEGs should be no larger than 300 dpi at approximately 4 by 6 inches. All digital files must be in JPEG format and must include the artist’s name and title of the submission (smithpainting5.jpg). Please do not use quotations or spaces in file names.

Video and time-based submissions should be both PC and Macintosh compatible. Files should be submitted in .MOV format. You may NOT submit VHS tapes. Website links will not be accepted as submissions.

Please download prospectus for complete guidelines and instructions on how to enter. Image entry will be by PC compatible JPEG digital files only. We no longer accept slides as a form of entry

Download Prospectus
Apply Online - New!
For a hard copy of prospectus, send a SASE to:
Target Gallery
Torpedo Factory Art Center
105 North Union Street, Alexandria, VA 22314

Call: 703-838-4565 x 4

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Monday, November 17, 2008

Location/Dislocation - Art

Calls For Papers

Category: Calls For Papers [View all]
Posted by: California State University, Sacramento
Deadline: 01/16/09

We invite 300-word proposals for 20-minute lectures on the theme of �location and dislocation� in the history of art. The symposium is open to a wide range of historical and contemporary topics on the placement and displacement of artists, identities, artworks, texts, collections, and cultures. �Location� is broadly defined as geographic, temporal, racial, sexual, virtual, invented, or actual. We welcome proposals from historians and theorists of early modern, modern, and contemporary art of Europe, Asia, Africa, and the Americas with research interests in architecture, design, visual culture, and cross-disciplinary studies.

Please email your proposal with a one-paragraph professional biography to or mail them to Elaine O'Brien, Art Department, California State University, Sacramento, 6000 J Street, Sacramento, CA 95819-6061.
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MATA Festival

Call for entries
Deadline: 15 February 2009

2010 MATA Festival
MATA (Music at the Anthology) is currently accepting submissions from young composers for possible commissions and performances on the 2010 MATA Festival in New York City.

Materials for submission must include:
Recording (CD) of one or two recent works (We prefer you send two works, however no more than  two may be submitted. Both works can be on one CD. MIDI recordings will not be accepted.)

* Scores to accompany the above recordings (unless scores are not pertinent)
* Biography or resume
* A list of works
* Contact information
* SASE if you wish to have your materials

Applicants must not have reached their 40th birthday by February 15th, 2009. Three or four commissions will be offered for the 2010 festival, and commissioning fees will range from $2000 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 considers works of any instrumentation and duration; please send whatever you consider to be your best work. In addition to traditional ensemble combinations, MATA also accepts submissions of work utilizing digital media such as speaker-based sound pieces, electro-acoustic compositions, and audio/visual presentations. If your performer interface (i.e. sheet music) falls outside conventional notation systems, please include examples and clearly explain its parameters. Also for computer-based sound and multimedia work, please include documentation of your process (basic schematics, strategic principles, etc).

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. To submit or for more information, contact:

293 Warren Street, #2
Brooklyn, NY 11201
Tel: (212) 563-5124

For the past twelve years, MATA has been dedicated to commissioning and presenting works by young composers from around the world. MATA’s directors are motivated by a desire to create community among young musicians, especially those whose work defies definition and doesn’t fit into existing institutions. By providing young composers with a professional performance of their work, access to first-rate performers and valuable connections to colleagues, MATA nurtures their entry into American musical life. Founded in 1996 by Philip Glass, Eleonor Sandresky, and Lisa Bielawa, MATA presents pieces by young composers on a week-long festival, held each spring in New York City, and organizes year-round concerts through its bi-monthly series, Interval. The festival always features several works that MATA has commissioned, performed by professional musicians from around the world. To date, MATA has commissioned 44 works, and has presented over 150 performances of pieces by young composers. The commissioned works have represented a broad range of media including Harry Partch instrumentarium, solo voice with quadraphonic live electronics, gamelan ensemble and full orchestra. MATA holds an annual open call for scores, from which a panel of established musicians selects composers who will participate in that year’s festival. For most of these composers, the performance of their work on the MATA Festival represents one of their first commissions, and their first significant exposure to New York audiences. MATA prides itself on giving young composers an outlet for their work, thereby helping them acquire the skills necessary to begin their musical career.

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Keele Biennial Conference on Music

Call for Papers

Keele University, 2-5 July 2009

Conference to include:
* Keynote lectures by Professor Lawrence Kramer (Fordham University) and Trevor Wishart (Composer in Residence in the North East of England/Durham University)
* Plenary sessions on socio-political contexts of electro-acoustic music and musical narrativity since 1900
* Composer workshop on audio-visual composition
* Digital Arts concert event including Trevor Wishart’s _Red Bird_
* Recital for soprano and piano by Karen Radcliffe and Michael Bell of Berio, Berg, Britten, Dallapiccola, Messiaen, Poulenc, Ravel, Satie and Webern
* Bursaries available

The Sixth Biennial ICMSN is generously supported by:
* Research Institute for the Humanities, Keele University
* Cambridge University Press
* _twentieth-century music_
* The Society for Music Analysis
* The Institute of Musical Research
* Ashgate Publishing

The conference’s theme is music since 1900 and the conference’s programming policy is best described as whole-heartedly pluralist. Proposals are therefore invited on ANY topic and/or repertoire (popular, art, jazz, folk, world, commercial, political, religious, ‘everyday’, film, TV, games, online, etc.) relating to the musics of the 20th and 21st centuries, and utilizing any scholarly approach from within the fields of musicology or other relevant intellectual disciplines.

Proposals are also invited in relation to the following conference sub-themes:
* Cultural identity
* Electro-acoustic music and related digital arts (acousmatic, live electronics, mixed media with live acoustic voices/instruments, audio-visual, electronica, glitch, lower case, hacking and bending, noise art, installation, etc.)
* Music and narrative

Proposals blurring the boundaries between different topics (including the conference sub-themes) are naturally welcome.

Proposals are invited for any of the following:
* Papers (20 minutes maximum, with 10 minutes for discussion)
* Paper sessions (three or four papers, each 20 minutes maximum, with 10 minutes for discussion)
* Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion)
* Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings

Abstracts and proposals should be prepared as follows:
* For individual papers: up to 250 words
* For paper sessions: 250-word (maximum) summary and up to 250 words for each session participant
* For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
* For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings/scores/other details of works to be included in the event

Further information for applicants:
* Only one proposal of each type is permitted per applicant
* Proposals should not substantially duplicate presentations being given at conferences or other events proximate in time or place to ICMSN 2009
* All proposals must be sent by email as a MS Word attachment

Programme committee: Dr Jenny Doctor, Prof. Simon Emmerson,
Prof. Rajmil Fischman, Prof. Barbara Kelly, Prof. Fred Maus,
Dr Alastair Williams, Dr Nicholas Reyland (Chair)

Composition subcommittee: Prof. Mike Vaughan, Dr Miroslav Spasov,
Dr. Sohrab Uduman, Dr Diego Garro (Chair)


Successful applicants will be informed by 12 January 2009
Details of bursary application procedure will also be announced in January 2009.

Please e-mail proposals and enquiries to Dr Nicholas Reyland:

Correspondence may also be directed to: Dr Nicholas Reyland, Music, The Clock House, Keele University, ST5 5BG, UK or by telephone: +44 (0)1782 733297

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Call for Compositions

Keele University, 2-5 July 2009

Submissions of works for electro-acoustic and audio-visual fixed media (acousmatic, electronica, etc., with or without accompanying video track) of up to 15 minutes duration are invited. Submissions of miniature works of less than 5 minutes duration are also welcome. Successful submissions will be programmed in a concert at the Sixth Biennial ICMSN and/or be available through the a-v studio-booth at the conference.

* There are no restrictions concerning age or nationality, and compositions in any style or genre will be considered
* However, composers might want to note the associated Sixth Biennial ICMSN Call for Papers, which sets out particular topics that will be emphasized during the conference
* Composers whose pieces are selected for performance are required to register for and attend the conference
* There may be only one composition submission per composer

Proposed compositions should be submitted by post on Audio CD or PAL Video DVD (see next page for requirements) to: Dr Diego Garro, Music/Music Technology, The Clock House, Keele University, ST5 5BG, UK

An accompanying submission form (see next page for requirements) should also be e-mailed as a Word attachment to:

Composition subcommittee: Prof. Mike Vaughan, Dr Miroslav Spasov,
Dr. Sohrab Uduman, Dr Diego Garro (Chair)

Only submissions received by 1 December 2008 will be considered for selection. Selected composers will be notified by 12 January 2009 at the latest. Works will be selected by the programming committee. The committee’s decision is final.


Please submit the following

1. The composition

1.1) For audio works in stereo: an Audio CD with a recording of the work. Please write composer’s name, track title and track duration on the disc and on the CD booklet and sleeve.
1.2) For audio works in 5.1 multi-channel format: a Data CD or Data DVD with an interleaved uncompressed audio file. Please write composer’s name, track title and track duration on the disc and on the booklet and sleeve.
1.3) For audio works in multi-channel format other than 5.1: a Data CD or Data DVD with the discreet uncompressed audio files (one file per channel). Please write composer’s name, track title and track duration on the disc and on the booklet and sleeve. Provide also a clear explanation of the file-channel mapping required to playback the work correctly.
1.4) For audio-video works: a PAL Video DVD. Please write composer’s name, title and duration on the disc and on the booklet and sleeve.

2. One A4 submission form, e-mailed as a Word attachment to with the following information:

2.1) Name of the composer
2.2) Title, duration and year of production of the work
2.3) Studio / facilities where the work was produced
2.4) Composer’s short biography (150 words maximum)
2.5) Short concert programme note (200 words maximum)
2.6) Composer’s contact information: e-mail and telephone

Technical specifications and requirements to perform the work submitted:

2.7) Number of channels, sample rate, bit-depth, of the relevant files
2.8) Multi-channel loudspeaker mappings
2.9) Nature of the audio and video outputs of the composers’ own equipment (typically laptop); what type/size of audio sockets; what type of video sockets.
2.10) Other technical requirements as necessary

All requested information must be provided in order for the work to be considered.

Keele Audio Visual Exhibition System (KAVES) features:
- Multi-loudspeaker sound projection suite
- 16-in 16-out sound diffusion desk (analog)
- DVD player with 5.1 surround sound audio output
- LCD projector & 4x4m projection screen

Successful applicants will be informed by 12 January 2009

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404 festival

performance, install, video, still, audiovisual

Feb 10th 2009 deadline

- Argentina

call: 404 Festival Rosario/Argentina
November 18, 2008 at 12:53 pm · Filed under calls: external, film/video, netart, new media, performance

Call for entries
Deadline: 10 February 2009

“404 FESTIVAL” / 2009

Download the entry form as WORD .doc file

1. This call is free and open for authors of any age and nationality

2. In order to participate of the “404 Festival” you must:
a) Read and accept the General Terms and Conditions.
b) Complete every field in the on-line Submission Form for each work sent, attaching a representative image of the artwork and another image of the artist (both to be published) in .JPG (1024 x 768 pixels) file format and send it to
c) Send the works (CD or DVD) by postal mail to the following address:

Universidad Nacional de Rosario
Maipú 1065
(2000) Rosario
Santa Fe

3. A maximum of 3 works in the same category.

4. Live concerts, conferences, projections and performances may have a running time of up to 30 minutes.

5. Each work sent (CDs, DVDs or prints) must have a label with the following information: CATEGORY, NAME OF THE WORK, NAME OF THE ARTIST, ADDRESS, TELEPHONE, AND E-MAIL. CDs and DVDs must be submitted in suitable hard casings

6. The following formats and storing devices should be picked according to the specific discipline encompassing your work:

1 CD to be browsed offline. If the nature of the work does not allow this, you must send the URL. In both cases, the operating system required to visualize the work must be specified (PC or Mac). Attach the necessary programs and plug-ins for the work to be properly viewed

1 CD with files in .JPG format, at 200 dpi

1 CD with file in .SWF format (Flash)

2 DVDs: 1 DVD NTSC (standard format for DVD reproduction) and 1 DVD with a MPG2 DVD NTSC DEMULTIPLEXED (compilation format) file. Audio format: Stereo .PCM or .WAV 48.000 hz, 16 bits. Both copies in DV-NTSC Standard. An image of every work or representative of them in .JPG format 1024 x 768 pixels.

1 DVD NTSC (standard format for DVD reproduction)

2 CDs: 1 Audio CD and 1 CD with.MP3 at 160 kbps files. Each of these files must include the author’s and track names.

1 CD with .DOC files and printed document in A4 sheet in Verdana font, size 11. If the original text has been written in a language different than Spanish, the proper translation must be attached.

1 CD or DVD with the required technical grid, a CD or DVD demo, descriptive photographs, and a draft description of the layout.

1 CD or DVD with the required technical grid, a CD or DVD demo, descriptive photographs, and a draft description of the layout.
7. The works received might be incorporated to the Astas Romas collection and may be Published as such in the Astas Romas Website and/or the 404 Festival Website The works may be reproduced totally or partially in any “Astas Romas” or “404 Festival” event that could be held in the future. In any event, the authors keep their intellectual rights on the work according to every current law.

8. Submitted works received will not be returned. Please do NOT SEND ORIGINALS but copies.

9. Shipping expenses, mounting expenses and any other expense that may occur involving the work’s setting up will be paid by the author.

10. The 404 Festival organization will contact the selected authors via e-mail.
Results will be published on

11. Deadline is February 10th 2009. The date will be taken from the post date stamp on submitted packages.

12. Presenting any work implies the total acceptance of these terms and conditions as well as any modification that could be made to them by the Organization.

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Saturday, November 15, 2008

Place/Video call

Investigations of Place

Author and theorist Lucy Lippard defines “place” as “space plus memory.” Separate from landscape art, investigations of place explore how the landscapes of personal places such as homelands, childhood homes, and ancestral spaces take on new forms when combined with memories and individual experiences. We are asking for submissions that successfully use video to illustrate personal narratives imprinted on landscapes, and landscapes imprinted on personal narratives, videos that use experimental imagery to explore how spaces are remade once they are remaining in the mind, and videos that strive to define and delve into the concept of place.

Three to Nine videos will be chosen for participation in the Jersey City Museum’s Media 1×1 series. The videos will play on three screens on the first floor of the museum from May – September 2009. Please submit unformated DVD’s, NTSC format only, preferably .MOV, and include a short synopsis of the work and your contact information. Please send entries, postmarked by March 6, 2009, to:

Investigations of Place Video Program
Jersey City Museum
P.O. Box 428
Jersey City, NJ 07303-0428

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Friday, November 14, 2008

Sound call

It’s time to submit your material for 10th edition of festival, which will take place from May 27th to the 31st in Montreal/Canada.

All artists with projects that are exploring new directions in electronic music and digital creation are warmly invited to submit their work. We are interested in original performances, particularly audiovisual pieces. We strongly encourage applicants to accompany their submissions with live recordings of their performances.

The deadline for submissions is DECEMBER 15th, 2008.

You can email us at or
send via regular mail to the following address:

Submission 2009
473 St Joseph Blvd East
Montréal, Quebec

* Please note that we cannot confirm the receipt of packages. The process of selection will take place during the months of January and February of 2009. Artists will be contacted if they have been selected to perform at the festival. We would like to thank all candidates in advance for their interest.

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Thursday, November 13, 2008

Great call - Sounds & Silence 1914-1945

Sound and Silence in the Space Between (1914-1945)

Category: Calls For Papers [View all]
Posted by: Bucknell University
Deadline: 12/15/08

Submissions requested for the 11th annual conference of The Space Between Society: Literature and Culture, 1914-1945.

University of Notre Dame, June 11-13, 2009.

From the growl of automobile and airplane engines and the whir of electric appliances to fascism’s oppressive silences, the years between 1914 and 1945 witnessed a variety of new sounds and silences. This interdisciplinary conference invites historians of literature, art, music, film, dance, and popular culture to explore the myriad sounds and silences of the interwar period.
Possible topics include:
• The impact of the telegraph, telephone, radio, and sound film on modern subjectivity and expression;
• The new sounds of technology and war;
• The enforced silencing of political and cultural critique;
• The sounds of political and social protest;
• Silence as spirituality, as resistance, as consent;

send 300-word abstract and one-page CV to Erika Doss (
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Possible call

Material Afterlife, an exhibition of recycled and cycle-logic art

Category: Exhibition Opportunities [View all]
Posted by: Urban Institute for Contemporary Arts (UICA)
Deadline: 01/05/09

CALL FOR ENTRIES for Material Afterlife, an exhibition of recycled and cycle-logic art. Urban Institute for Contemporary Arts (UICA) in Grand Rapids, Michigan, is seeking artists to submit entries to a National Juried Exhibition of Eco-Art entitled Material Afterlife. Deadline for Entries, must be postmarked by January 5, 2009. Download a prospectus at

The Address:
Urban Institute for Contemporary Arts (UICA)
41 Sheldon Boulevard SE
Grand Rapids, MI 49503

The Contact:
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Sound Art Call

Sound Of It
Call to sound artists! This exhibit will happen in pitch darkness. We are looking for artists who are exploring the dimensions of sound/art; in the manner of John Cage. Please send any submissions via CD to:
4141 Alabama Street #4
San Diego, CA 92104

Deadline is 03/01/2009
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Monday, November 10, 2008

Calls for National Conference for Volunteering and Service

November 15 (coming up)

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Journal of Community Engagement and Higher Education

New journal.

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Service Learning Call - DC - February 2009 deadline

From Nice to Necessary 2009 DC Conference on Service & Leadership

MAY 13-15, 2009 Washington, DC

Deadline for Workshop Proposals: Monday, February 16, 2009

This year's conference is based on three programmatic themes: Leadership, Collaboration, and Sustainability. These themes represent the continuum of growth that leads to healthy and strong communities. These themes will be woven throughout the conference in workshops, plenary speakers, events and materials. Speakers should be prepared to submit workshop proposals that fit into at least one of these three themes.
Leadership, Collaboration, Sustainability

Theme: Leadership
Harnessing leadership in community members is critical to building a strong foundation. Leaders tackle issues and concerns facing their communities; facilitate leadership within fellow community members; and, collaborate among various groups. It is important that service professionals learn ways to cultivate leadership while enhancing their leadership skills to bring effective change in communities.

Theme: Collaboration
As we develop ourselves as leaders, we must consistently collaborate with organizations, businesses, and community members. With each new experience or challenge, we must continue to seek ways to identify resources and tools that are present to reduce a duplication of community efforts. Workshops that will be offered around this theme include partnership development, cultural competency, and marketing.

Theme: Sustainability
As leaders develop projects that meet critical community needs, it is important that projects are sustained monetarily with the support of the community. Leaders must identify and actively seek funding while making sure that the projects are getting the job done.

To obtain an application, email Natasha at

The completed application and narratives must be received at the Serve DC office on or before Monday, February 16, 2008, via email or disk by mail. (We will not accept proposals via fax.)

Please send proposals to:
Natasha M. Ballentine, Training and Technical Assistance Manager
Serve DC, Executive Office of the Mayor
Re: Presenter Application
441 4th Street, NW Suite 1140 North
Washington, DC 20001

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National Civic Review journal article

Maybe with Audrey?

Unknown deadline date.
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Service Learning Call for Proposals - 1/1/09

Call for Abstracts - Engaging Culture and the Arts: Multidisciplinary Perspectives on Service-Learning

Dear Colleagues Across Disciplines:

Do you teach service-learning courses about culture and the arts –or- courses that use direct engagement with culture and the arts as gateways to other topics? Might you be interested in writing an article about it for a collection on service-learning for civic engagement? If so, read on!

The Multidisciplinary Perspectives in Service-Learning series from Stylus Publishing is a groundbreaking collection of reference books on service-learning organized around specific community issues rather than disciplinary boundaries, thus demonstrating how different approaches and/or collaborative efforts can contribute to shared goals. Volumes in the series include:

- Race, Poverty and Social Justice – Gender Identity, Equity and Violence – Health and Wellness – Research, Advocacy and Political Engagement – Sustainability (in development)

As of today, there’s a commitment from the publisher to produce these five volumes. But I believe we should make the case for at least one more – on culture and the arts!
The inclusion of such a volume has the potential to demonstrate how culture and the arts constitute a range of activities are central to the wellbeing and survival of communities; that no matter what our disciplinary perspective, a civically engaged culture and arts pedagogy has the potential to positively impact our students, our communities and the richness of our own lives as scholars and citizens.

I invite you to join me in an effort to convince the series editor to propose another volume to the publisher. If we can collect 8-10 strong proposals, then he has committed to me to seek publication with Stylus as part of the series. If that doesn’t work, I’m personally committed to taking those strong strong proposals to however many publishers I need to in order to make this happen. For now, all it requires of you is a page or two of effort. Let’s shine a light on all the extraordinary work you are doing (see the call for abstracts below).



Call for Papers: Proposed Volume on
Engaging Culture and the Arts: Multidisciplinary Perspectives in Service-Learning

Please follow the guidelines below for submitting a 1-3 page prospectus. Please keep in mind the following information concerning your chapter:

Culture and the arts are the province of all, providing means by which communities are empowered and uplifted, and through which students are enlightened and energized. Culture and the arts encompass a broad range of pursuits including but not limited to material, verbal, kinesthetic and musical forms of expression; the preservation of cultural heritage; and the celebration of new, living traditions. These are not peripheral activities but central to the wellbeing and survival of communities. As bell hooks states, “Learning to see and appreciate the presence of beauty is an act of resistance in a culture of domination that recognizes the production of a pervasive feeling of lack, both material and spiritual, as a useful colonizing strategy.”

This volume deals with the arts and the cultural life of communities as both topics of instruction and methods of instruction. We thus invite essays that address courses in which the subject matter or theme is explicitly about culture and the arts, but we also invite essays about courses which may be about other subjects (from the sciences to professional fields) which use art and culture as entryways into other topics. Essays in this collection demonstrate how direct engagement with the cultural life of communities through well-designed service-learning experiences contribute in tangible ways to the communities served, to student achievement of course outcomes, and to the professional growth of faculty members.

Audience: The target audience for the series is the growing legion of faculty in higher education who are exploring the power of the service-learning pedagogy for teaching community engagement. The series will be suitable for faculty across all types of institutions and should be a useful resource for course development in all undergraduate years. The audience for this volume consist of faculty across disciplines who include culture and the arts in their courses as either topic or method of instruction.

Purpose: This volume is to serve as a source book for faculty who teach a variety of courses that have curricular content related to culture and the arts, or for whom engagement through arts and culture might serve as methodology through which other issues such as social justice can be accessed. Each chapter should approach the general theme from the disciplinary perspective of the author thus forming a collection of multiple perspectives on this theme. Chapters written by interdisciplinary teams are especially welcome, as are chapters written in collaboration with students or community partners. Each chapter should demonstrate the power of service learning to help students explore course content and attain learning objectives through their participation in community-based work. The goal is to give examples and guidance for faculty seeking to integrate service-learning into courses.

The prospectus should contain the following elements:

1. Your name(s) and title(s)
2. Your discipline(s)
3. Contact information (department, campus/organization, address, email, phone)
4. Abstract (500-1500 words)
a. Learning objectives and outcomes – what will the chapter attempt to address, what are the multiple discrete objectives for engagement with arts and culture, and what are the outcomes long and short term? What are the big ideas you are trying to convey to students?
b. Methods / process – how did you approach the learning objectives (include community partners, specific projects/placements, student preparation, reflection activities)
c. Assessment – How do you measure qualitative changes through the process?
d. Future directions (ex: questions to ponder, resources to explore, activities to pursue, suggestions for others who are involved in community-based teaching and research)
5. References – a brief bibliography

Please send the prospectus to (electronic is preferred, subject line: Engaging Culture and the Arts):

Sandra Posey
Associate Professor, Interdisciplinary General Education
Interim Director, Center for Community Service-Learning
California State Polytechnic University, Pomona
3801 W. Temple Avenue
Pomona, CA 91767

Due date: Jan 1, 2009

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