Wednesday, June 3, 2009

Encounters Film Festival - UK

Due 6/30/09

30 minute max.

The festival is open to short films of all production techniques, including animation, documentary, drama, experimental or artist film and hybrid work.
Read more!

Noveau Cinema Festival - Montreal

Due 6/30
Read more!

Friday, May 29, 2009

Conference - Teaching Citizenship & Civility

Due 9/15

nternational Conference/Teaching Citizenship and Civility Call for Papers

The Society for Ethics Across the Curriculum Announces the 11th International Conference on Ethics Across the Curriculum

Rochester Institute of Technology
Rochester, New York
November 12-15, 2009

The Society picks conference themes to encourage faculty from the relevant areas to submit papers, panels, or other standard forms of presentation, but submissions may speak to any issue regarding ethics across the curriculum. Questions about possible submissions should be sent to the directors at

Theme: Teaching Citizenship and Civility

It is a hallmark of civility within a society that those of opposing points of view can reasonably discuss their differences and find common ground amidst their disagreements.

Teaching students to become civil citizens and modeling a civil society within our classes are always pressing concerns. The concept of citizenship may encompass a wide variety of ethical actions (such as volunteerism or philanthropy) and political relations (such as nationalism or globalism). Teaching students to become civil citizens requires consideration of the content and practice of citizenship, in all its forms. Even in classes where the content is far removed from what seems relevant to a civic education, the way in which the class is taught -- how disagreements about answers are resolved -- can teach lessons essential to civility. Teaching civility, in all its forms, is an education across the curriculum. Although the theme of the conference highlights the content and practice of teaching civil citizens, submissions are not limited to the conference theme.

Submissions (either papers or abstracts) should be formatted for blind review and sent by September 15th 2009 to the Secretary-Treasurer of the Society, Donna Werner, or by hard copy to Dr. Donna Werner, Philosophy Department (HE 103), St. Louis Community College, Meramec, 11333 Big Bend Boulevard, St. Louis MO 63122-5799. Phone: 314.984.7934.

We will make decisions about papers as soon as we can after they arrive. So the sooner you submit your abstract or paper or panel suggestion, the sooner you will hear from us regarding its suitability for the conference.

The Society publishes Teaching Ethics, and papers for conferences may be considered for publication either in that journal or in a possible anthology on teaching citizenship and civility.

Read more!

Thursday, May 7, 2009

WPA Call for Experimental Media - rec'd by 8/1

From: Adam Griffiths
Date: 2009 May 6 2:10:52 PM EDT (CA)
Subject: WPA Experimental Media Series 2009 Call for Entries

WPA Experimental Media Series 2009

September 24, October 1, 2009 @ The Phillips Collection
October 28 & 29, Falvey Hall, Maryland Institute College of Art
Juror: Kelly Gordon, Associate Curator, Hirshhorn Museum and Sculpture

Submission Deadline (received): August 1, 2009

For the next installment of the WPA’s Experimental Media Series, WPA
will present a selection of innovative video and sound works over the
course of two evenings at The Phillips Collection in Washington DC,
and two additional screenings of selections from the Phillips event
combined with student works at the Maryland Institute College of Art.

For the screening, WPA is calling all video and sound artists to
submit works that explore any subject matter of their choice in
innovative ways. A selection of the received video and sound works
will be presented in the framework of a public screening. Artists
selected for the screening nights will be notified during the last
week of August. Additionally, two artists submitting the most
compelling entries, as reviewed by the juror and based on overall
quality and innovation will be awarded the Kraft Prize for New Media
of $750 and the WPA Experimental Media Prize of $750 on October 1.
Please note that the WPA Prize will go to an artist living and working
in the Mid-Atlantic region.

Artists may submit up to 3 pieces in either sound or video with a
maximum run time of 3 minutes. Please remind artists to review the
guidelines closely in order to adhere to these basic requirements.

Link to WPA EMS 2009 Entry webpage:

Download Call for Entries:

Read more!

Monday, April 20, 2009

Audio Art call

espacio-audio: audio projects
Deadline: June 1, 2009

espacio-audio (audio space) is a curated site-specific audio frequency dedicated to the promotion/ experimentation of audio art. It was created to addresses the lack of audio exhibition spaces in Houston, to serve as an outlet for audio experimentation, to promote audio artists within/ outside of the city of Houston and to challenge the physical boundaries of exhibition space through sound. It is drive-up/ walk-up site-specific frequency and is currently one of a handful of audio friendly exhibition spaces in Houston.

espacio-audio is currently seeking audio art proposals for our 2009-2010 season. The selected pieces will be aired for a three-month period at various locations throughout Houston. We are looking for works that transcend the existing perimeters of audio art. The pieces can be, but are not limited to, challenging, soothing, confronting or projecting opaque thought. There are no limitations on topics or proposed themes, no preference to abstraction or solidity of sound. We are simply looking for thought provoking proposals laced with innovation.

To apply please email the items listed below along with a description sheet and your audio sample to

1) Overview of you project (500 words)
2) Description/theory behind your audio sample (1-2 pages)
2) Curriculum Vitae with updated address, phone number and email
3) Web site, blog and/or online audio sample

Applications must be received by June 1, 2009, 5:30 p.m. (This is not a post-marked deadline). Incomplete applications will not be reviewed. For additional information please visit
Read more!

Sunday, April 12, 2009

Astrodime Intransit - FEED call

Every day we are becoming more dependent on information: When we cannot access our e-mail, or forget our mobile, we often go into withdrawal. We have become part of the Network. Increasingly this connection is literal: an implanted pacemaker is tested and reset using tones over a phone line held near the chest. Science and Medicine announce such cybernetic innovation daily. We have been assimilated.

FEED explores the concepts of Network as influenced by Information Transmission, Sustenance, Consumption, Symbiosis. FEED questions the borders that separate human and machine, organic and inorganic. The project seeks to examine our societal hunger for constant information flow. FEED seeks to remind us that we too have become part of the information network: we feed it, as it feeds us.

Astrodime Transit Authority is collaborating with the FEED Exhibitio. INtransit Volume Number 5 will comprise part of the video submissions to the FEED exhibition happening in Boston in Fall 2009. INtransit: FEED will be screened in its entirety at the exhibition, as well as at other venues.

We are looking for short experimental films (35mm / 16mm / 8mm), videos (single channel experimental, videoart, or documentary), innovative animations, and experimental digital & graphic productions (to be screened). Accepted submissions will be published in a DVD video journal. Pieces under ten minutes are preferred. There is no entry fee. Preview discs will not be returned unless a SASE with sufficient postage is enclosed. Please label all materials.

Please send preview NTSC DVD submissions to:

Astrodime Transit Authority (INtranit FEED)
c/o 119 Gallery
119 Chelmsford Street
Lowell, MA 01851

Submission Due Date: June 1, 2009

Contact Information:
For INtransit V.5: FEED
General AstroDime Questions:
AstroDime Website:
FEED: the Exhibition:

Read more!

Lausanne Underground Film Festival


6/15 due date, no entry fee

The film selection includes the following international competitions:
- short narrative films
- short experimental films
- animated short films
- feature films
- documentaries

Application here -
Read more!

Not Still Art - NYC - Video w/ music & sound design

Organized in 1996, the Not Still Art Festival is a forum dedicated to artists working in
non-narrative and abstract electronic motion imaging with music/sound design.

Deadline 6/1

Festival itself is 10/3 in NYC.

$25 fee

Application -
Read more!

Thursday, March 26, 2009

AES Call for Papers - 127th Conv. - NYC

Proposal deadline: 2009 June 5
Acceptance emailed: 2009 June 30
Paper deadline: 2009 August 3

AES 127th Convention, 2009
New York
The AES 127th Convention Committee invites submission of technical papers for presentation at the 2009 October 9–12 meeting in New York. By 2009 June 5, a proposed title, 60- to 120-word abstract, and 500- to 750-word précis of the paper must be submitted electronically to the AES 127th proposal submission site at Submissions will be accepted starting
approximately 2009 February 16. Presenting authors (one per paper) who are members of the AES or student members will be required to pay 60% of the member or student convention registration fees and they will receive a CDROM
of the papers.

Acceptance of proposed papers will be determined by a review committee based on an
assessment of the abstract and précis. Presenting authors who are student members and whose papers are accepted for presentation will be eligible for the Student Paper Award at the 127th.

The précis must clearly describe the work performed, methods employed, conclusions, and significance of the paper with respect to other published work in the field. During the online submission process you will be asked to specify whether you prefer
to present your paper in a lecture or poster session. Highly detailed papers are better suited to poster sessions, which permit greater interaction between author and audience. The convention committee reserves the right to reassign papers to any session. Whether a lecture or a poster, a complete electronic manuscript submitted
before 2009 August 3 is required before the paper can be accepted for presentation at the convention. During the submission process, authors will be asked if their convention papers should be considered for possible publication in the AES Journal.

Dates: 2009 October 9–12
Location: Jacob Javits Convention Center, New York, New York, USA
127th Convention
New York
1150 J. Audio Eng. Soc., Vol. 55, No. 12, 2008 December


Applications in Audio
Audio for games
Audio in multimodal applications
Forensic audio
Automotive audio
Audio for mobile phones and PDAs
Audio in education
Audio for computers, LANs, and the
Digital broadcasting and integrated
Audio Processing
Analysis and synthesis of sound
High resolution audio
Low bit-rate audio coding
Hearing protection and enhancement
Audio effects
Spatial audio
Physical modeling and musical
Audio content management
Recording, Production, and
Studio recording techniques
Audio production in the PC
Sound reinforcement
Live sound production
Multichannel sound
Audio Equipment
Wearable audio
Wireless audio
Micromachining for audio
Instrumentation and
Audio perception
Perceptual audio coding
Listening tests
Quality evaluation
Emerging Audio Technologies
Innovative applications
Automatic content description
Audio distribution formats
Human factors and new interfaces
Audio and micro-electro-mechanical
systems (MEMs)
Read more!

Thursday, March 19, 2009

Expo Leeds - Submissions due 5/29

Open call for submissions but also commissioned work

Call for Submissions

Submissions are sought in all forms of sonic art including real-time interactive works, improvisation with technology, experimental electronica, instrumental/electroacoustic mixes, acousmatic music, sound installations, noise, environmental sound work, conceptual sound art, performances, internet-based creative work, radiophonic work, sound and image works and cross-arts work. In summary, we welcome submissions of all kinds of work incorporating experimental use of sound as a major element.

In addition to our call for existing works, Expo is pleased to offer a call for festival commission proposals for the creation of new work.

A new audio-visual installation piece will be presented in the arena space within Leeds City Museum throughout the festival, from 24-29 September 09. Works with interactive elements are encouraged as well as works that address the context of Leeds. Leeds City Museum was launched a year ago and is housed within a Grade 2 listed building. The Museum is open to proposals for this commission that would re-interpret its significant collections.

Please note that due to the volume of submissions that we receive we cannot return submitted materials.

For all submissions, you will need to:

Fill in our online form

Send examples of your work, either by post or by email
Deadline for proposals: 29 May 2009
Commission Opportunities

In addition to our call for existing works, Expo is pleased to offer a call for festival commission proposals for the creation of new work.

A new audio-visual installation piece will be presented in the arena space within Leeds City Museum throughout the festival, from 24-29 September 09. Works with interactive elements are encouraged as well as works that address the context of Leeds. Leeds City Museum was launched a year ago and is housed within a Grade 2 listed building. The Museum is open to proposals for this commission that would re-interpret its significant collections.

Considerable technical support, kindly given through our partners, will be available for the support of this commission. A total budget of £4000 will be made available for the production costs of this new work. The arena has an installed system for the projection of 5 channels of video with hanging screens.

This call is open to UK based artists only
Supporting Information
The Leeds City Museum, Leeds Arena Site

Floor Plans

See left

Commission Proposal submissions guidelines

Commission proposals should include:

• Title of work
• Your name
• Your contact details (name, address, telephone, email, URL)
• A brief biography (150 words max.)
• Audio/video example of your previous work (or link to www site)
• A description of the artistic concept to be commissioned (500 words max.)
• The technical resources required for the presentation (specifying those which can be supplied by the artist)
• A budget specifying your fee, the production, materials and presentation costs, travel and accommodation
• The time-scale strategy for the creation and completion of the work

Please note, proposals should be sent as hardcopy to the address below and should reach us by 29 May 2009.

Expo Commissions
c/o Sonic Arts Network
The Jerwood Space
171 Union St
United Kingdom

24-29 September 2009
Presented by Sound And Music and MAAP

Expo is the hub and playground of the experimental music and sound art scene in the UK and beyond. Free and open, the event mobilises a national network of artists and engages with communities from all backgrounds – placing sonic art and the people who make it in direct contact with the public. Expo steps out from traditional venues and into spaces that lie at the heart of the community - inspiring practitioners and the public to reconsider their environments.

Annually relocating, Expo traverses the country dispersing into the locality it arrives in, scattering events, happenings and sounds across the towns and cities it visits, joining together place, people and art. Work is drawn from a national call and the event collaborates with local partners and highlights the work of local artists. In the spirit of open culture and accessibility the project has developed a social community ethic amongst contributing artists and has encouraged creative approaches to the staging of new work.

Expo will land in Leeds in September '09 for a long weekend of performance, exhibition and presentation which will take place across a variety of physical and virtual spaces.

The weekend aims to highlight the broadest possible range of approaches and thinking that surround the sonic arts. We welcome submissions of all kinds.

There is no charge for the submission or acceptance of work and entry to the festival will continue to be free to all. We do ask that selected artists attend the event. In order to keep the festival open, free and accessible we are unable to offer artist fees for work submitted (except for the paid commissions).
Read more!

Tuesday, March 17, 2009



4/30/09 postmarked

The National University of Lanús - UNLa (Argentina) presents the 9th Edition of the International Acousmatic and Multimedia Festival “Sonoimágenes” that will take place in September 2th – 4th 2009.

“Sonoimágenes” offers a showcase of outstanding works in the acousmatic, mixed-interactive live electronics and audiovisual composition fields. All the activities will take place at the UNLa Campus placed in 29 de Septiembre Street Nr. 3901, Remedios de Escalada - Lanús, Provincia de Buenos Aires

“Sonoimágenes” calls for works to be considered for the 2009 edition, that should fit into one of the
following Categories:
a. Acousmatic works: sound art compositions for recorded media alone, for two, four, eight or 5.1 channels.
(Check the details of accepted supports in the section “Elements to be included”)
b. Audiovisual compositions: audiovisual works on media where sound and image narratives should have equal relevance or importance (Check the details of accepted supports in the section “Elements to be included”)
c. Live Performances involving technology: such as mixed works with acoustic instrument(s) or electroacoustic devices and recorded media, interactive mixed works, real time processing or live electronics, live electroacoustic improvisation, or any of those plus video, in all cases with a maximum of two performers. (Check the details of accepted supports in the section “Elements to be included”)

All works must have a duration between four [4] minutes (minimum) and twelve [12]
minutes (maximum) and must have been created after January 2003.

Composers and realizers may submit only one work in only one Category. Therefore the submission implies also a Category option. All the selected works will be featured in the Audiovisual Concerts during the Festival.

Available technology for the Audiovisual Concerts, provided by the Festival:
For the Audiovisual Concerts, the Festival will provide the following technology:
Eight loudspeakers system with an eight sends console which can be configured as eight discrete channels or 5.1 channels.

A PC computer for multichannel sessions, with an eight channel sound card.
Audio-CD, 44.1 KHz 16 bit DVD Player

Deadline for submissions:
All works must be sent by mail, post marked before April 30st 2009. All submissions must be sent to:
Universidad Nacional de Lanús
Departamento de Humanidades y Artes
29 de Septiembre 3901 (B1826GLC)
Remedios de Escalada – Prov. de Buenos Aires

See more info on their webpage

Read more!

Oral History Call - Papers/Works

Rooted/Unrouted? - proposal due 4/13/09

Main info:
Remembering War, Genocide and other Human Rights Violations:
Oral History, New Media and the Arts
November 5-8, 2009
The Centre for Oral History and Digital Storytelling & the Montreal Life Stories Project
Concordia University, Montréal, Québec, Canada
Proposals Due: Monday April 13, 2009

Today, Dr High released a call for papers for a conference entitled “Remembering War, Genocide and Other Human Rights Violations: Oral History, New Media and the Arts.” The conference is being co-hosted by the Centre for Oral History and Digital Storytelling and the Life Stories of Montrealers Displaced by War, Genocide and Other Human Rights Violations. Not surprisingly, the central theme of the conference overlaps with several conceptual interests that are presently being negotiated by the Database Building Team in our work on Stories Matter. Of particular relevance are our attempts to design a software that shifts away from the use of transcripts to include more of the original context of the interview, such as sound, emotion and body language, and the challenges we’re facing in developing indexing and tagging terms that can be used as a general guide for generations of students, teachers and other interested users. As a result, we’ve decided to begin working on a paper proposal that will allow us to make the development and database building processes we’re continuing to work toward even more accessible to the public. The team is very excited about the opportunity to take on a more conceptual challenge to balance out the debugging and database building on Stories Matter. For those of you who might be interested in also submitting a paper proposal for the conference, you can find the call for papers below:

It has frequently been said that we live in an “age of testimony.” Eye-witness accounts from survivors of war, genocide and other human rights violations fill our airwaves and our bookshelves. Large Holocaust testimony projects such as Steven Spielberg’s Survivors of the Shoah Visual History Foundation have recorded tens of thousands of survivors. Thousands more have told their horrific stories to truth and reconciliation commissions and international tribunals in a growing number of countries including Canada.

Oral history, we believe, has a pivotal role to play in educating ourselves and our communities about the social preconditions, experiences and long-term repercussions of war, genocide and other human rights abuses (broadly defined). What do people remember and why? How have we approached the interview? Digital technologies and the arts have likewise opened up new possibilities for community engagement and research. In what ways have we incorporated the life stories of survivors in art, documentary media and practice, performance, museum exhibition, classroom pedagogy, and other digital environments? When is oral history and storytelling a catalyst for collective dialogue and political action? Digital technologies and the arts have opened up exciting new possibilities for community engagement and research. How do we share the stories that we record?

We invite proposals in English and French from a wide range of community-based projects, university researchers, artists and educators, whose work is publicly engaged and intellectually consequential. Please indicate if you are proposing an individual presentation or panel session, one hour workshop, short performance, film screening/discussion, or booth/display. We are hoping to avoid concurrent sessions if possible. You are asked to submit a 250 word proposal, curriculum vitae, and a short biographical statement (to be placed on the web site if your proposal is accepted) by Monday April 13, 2009. Please send your proposals to Steven High, Canada Research Chair in Public History, at .

The conference is co-sponsored by the Centre for Oral History and Digital Storytelling at Concordia University ( and the Life Stories of Montrealers displaced by War and Genocide project (, an ambitious five year Community University Research Alliance that is comprised of 40 researchers and 18 community partners from the city’s Rwandan, Cambodian, Jewish and Haitian communities as well as arts, education and human rights organizations. A publication, perhaps an anthology, is expected to result.

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Creative Campus Grant

"The purpose of the Creative Campus Innovations Grant Program is to identify, support, and document cross-campus interdisciplinary collaborations that integrate the work of performing arts presenters in the academy and the surrounding community. Arts Presenters will award between 8 to 10 one- to two-year project grants, ranging from $100,000-$200,000 each in 2010 to college and university presenters for projects that go beyond conventional practice and perspectives, feature innovative or experimental approaches, connect with arts and non-arts constituencies, and stimulate discussion and debate. Funding support is meant to both support new initiatives and deepen existing efforts to integrate the performing arts into the academy."

Due 6/30 - mailed in by
Read more!

Electronic Art (including sound art) - in Bruges!

call: 36th Bourges International Competitions

February 21, 2009 at 10:29 am · Filed under calls: external, digital, netart, performance

Call for entries
Deadline: 25 April 2009

The 36th Bourges International Competitions 2009 is opened.
In the competition, you can particularly notice a new part “Electronic Arts” with 3 categories.

1. new pratices of sound and music creation
2. Performances
3. Netart

An full english version is also available on the IMEB website

For the artists they don’t know about the Bourges Competition, that’s the most important competition in electroacoustic music. It has been founded in 1973. It is devoted to composers coming from all levels, but also to sound artists, performers,… they practice different forms of sound arts. The registration is free. The selection is made anonymously (except the Magisterium). The jury is made with artists and personalities well-known in the esthetical fields related to the competition.
Several awards to notice in the rules.

For any question in add, please send an email to

Read more!

Green Exhibition - Apr 09

Call for entries
Deadline: 30 April 2009

DMAC - Duo Multicultural Arts Center is seeking submissions of new media + video works that deal with ecology, the environment and “green issues” for an exhibition to open the week of May 20th, 2009 at its gallery Emergence@DMAC located at 62 East 4th Street in the heart of the East Village.

If you have material posted online, please send us the link before submitting your work:

Please forward proposal materials and single channel dvds of works to:

Duo Multicultural Arts Center
PO Box 1200
Cooper Station,
New York, NY 10276
Read more!

Radio Art Contest Madrid - Apr 09

Call for entries
Deadline: 17 April 2009

XVI Radio Creation Works Contest CDMC-Radio Clásica 2009

The CDMC and Radio Clásica (RNE) are undertaking a collaboration to encourage the production of radio art works in order to promote this kind of creation.

Detailed info on

in Spanish


1. The works will necessarily be radio art works, that is to say, whose most suitable means of production and diffusion is the radio. The works will not have been previously awarded, produced nor emitted.

2. Words, noises, music, electronic or radiophonic manipulations and other similar elements may be the base of the work.

3. The project may be in Spanish only or in several languages, but in the latter case Spanish should be the main language. The use of language or voice may also be omitted.

4.To take part in the contest it will not be possible to send accomplished works, but mere projects: a written description of the work detailing the elements that it will require, some excerpts as examples in cassette, CD or DAT, scores or fragments of these materials, etc. Any form or presentation will be admitted, provided that it makes possible to the Jury to appreciate the interest of the projected idea.

5. There is no age nor citizenship limit.

6. The deliveries should be made on before April 17th, 2009 by any of the procedures allowed by the Administrative Procedure Act; such as registered mail, (postmark date will probe meeting the deadline), personal delivery, etc. They should be addressed to:

“XVI Concurso de Obras de Creación Radiofónica”
Centro para la Difusión de la Música Contemporánea
c/ Santa Isabel 52, 5ª planta
28012 Madrid, Spain

7. There is no limit to the number of projects to be sent by each author.

8. The projects should arrive anonymously with an assumed name that will be reproduced on an enclosed closed envelope containing a photocopy of the Identity Card or passport and personal details of the author or authors. In the case of using texts by another author, his/her permission must be accredited.

9. A Jury appointed by the CDMC and Radio Clásica will choose on the project considered the most suitable. The decisions of the Jury are without appeal.

10. The selected project will be the object of a commission by the CDMC, endowed with 6.000 euros gross. This commission will be considered as the Prize of the Contest and it is independent of the production costs, which will be assumed by Radio Clásica.

11. Radio Clásica will produce the work with the means that the radio itself will determine. For that purpose, in addition to the human and technical means of the Radio, the facilities of the Laboratorio de Informática y Electrónica Musical del CDMC (LIEM-CDMC) can also be used. The radio broadcasting will take place during the last quarter of 2009, and we will try to give the work première at the Festival de Música de Alicante (September 2009). The project should be developed with enough time so that it may be produced and emitted on time.

12. By the simple act of participating, the competitors accept the terms of these Rules athe decision of the Jury.

13. The non-awarded projects will be available to their authors who can fetch them personally at the CDMC, previous identification of the assumed name, within the period of three months after the awarding is made public.

14. Once this period is over, the non-collected projects will be destroyed in order to preserve the anonymity of the Contest.

Ars Sonora (Miguel Álvarez-Fernández)
Radio Clásica - Radio Nacional de España
Avda. Radio Televisión, 4
28223 Pozuelo de Alarcón (Madrid)
Foro de Ars Sonora:

Read more!

Soundart call - due NOW

Call for entries
23 March 2009
3 April 2009 see details further ahead

Sound &/or Text for installation
‘TheROOM’ (a part of SOUNDLEAK project)

The upcoming installation ‘TheROOM’, a part of ‘SOUNDLEAK’ project, will open in Wels, Austria on April 9, 2009.

As a part of the ROOM feature, you are invited to participate with ’sounds of your room & neighbors/neighborhood’.


‘TheROOM’ is a study of ‘hearing through the walls, partitions, and visually blocked area’ by Keiko Uenishi (o.blaat).

It is a simulation of your neighbor. Any kind of neighbor: next door, any home on the street you’d walk by, the office room next to you, etc.

We hear sounds all the time through visual partitions beyond which we tend to believe ‘the separate space there.’ However, aurally speaking, the space is not easily divided with clear lines. Complexity resides in the overlaps. The overlaps are the intersections of aural arena, and the region of ambiguity.

There are many questions on ‘the region’ and our reactions towards the ‘bleeding’ (things not fitting in the visual boundaries.)

What is happening in there? What are we sharing? - though we seem to make attempts to block anything ‘not matching’ with the visual boundaries? Have amendments on city’s zoning laws affected our hearing and sense of sharing with neighbors?

Are we hearing? Do we know our neighbors?

*** ‘TheROOM’ is a part of SOUNDLEAK project. Another part, ‘NowPlaying’ is tentatively scheduled to debut in an abbreviated scale at Saturn Elektronik Store in Linz, Austria on April 7, 2009.



9-24 April, 2009 @Medien Kultur Haus, Wels, Austria

‘TheROOM’, a part of ‘What You Really Need’ being commissioned by Medien Kultur Haus and Linz 2009 Kulturhauptstadt Europa.


Call for participation (for non-Wels/Linz residents.)

* If you’re in Wels, Linz, and/or any close regions, you can also submit in the following ways but also welcome to be booked for ‘live rehearsal/practice’, ‘live mini-party’, ‘live-quarrels’, etc. inside ‘TheROOM’. ) - Please let me know if you’re interested to appear (well, not be seen though!) in live.)


Any of the following (or both!) is welcome to submit:

1) Sound file(s) (MP3, AIFF, AAC, and WAV) made inside of your &/or your neighbor’s room; recording/rehearsal of your/your band’s practicing musical instruments; party sounds from your neighbors/streets; recording of your statement/argument/counter-arguments-to-your-neighbor’s-complaints-against-you on neighbor noise issues, etc. - max. 10 min. (shorter is fine, of course!)

2) Your thoughts in text (typed on paper, emailed, and/or hand-written) - If it’s typed-on-paper or hand-written, please either scan into pdf, or mail to my address (included below) by 3/22/09 (not postmarked!)

Text regarding…

• Hearing sounds from neighbors &/or anything outside your room/house

• issues of noise complaints (psychological, philosophical, sociological, historical, etc.)

• leaked sounds (not only through the walls/windows/pipes etc. but also through earbuds, headsets, etc.)



• The sound file(s) should be able to be played on iTunes.

• Sound quality is not the most important factor. (mono, low-bit recording is completely fine!)

• If you can only record into cassette tapes, let me know. If it’s submitted early enough, I can record into a digital format.

• Please include your name and contact (E-address. Web url too - if any. But no bios please.)

• Indicate a specific name you’d like to appear. (e.g. use ‘artist’s moniker - if you prefer…) All names will be credited on the program for ‘TheROOM’.

• Please be encouraged to choose free content licensing such as CC-BY, CC-BY-SA, or public domain. (Indicate your choice! If not elected, it will be treated as CC-BY-SA.)

CC license info >>

• The files will be compiled as a playlist, and also listenable via (link will be announced later this month.)


Submission info:

Electronic submission (preferred)

• Drop file(s) at

(If it has multiple files (audio + text), make sure to put them in one folder, and zip it before dropping. Do not send files separately - which is to cause ‘orphaned/unidentified’ files.

Snail mail submission (if necessary)

• Mail it to:

Keiko Uenishi
345 Eldert St. #316
Brooklyn, NY 11237


Though it’ll be best/easiest to be submitted electronically,

1) If you’d prefer to mail the material to me, make sure it to arrive by 23 March, 2009 (via mail or hand in-person.)

2) Electronic submission can be done by the end of April 3, 2009.


email me:


Thank you!!! + Looking really forward to hearing from you!!

Keiko Uenishi (o.blaat) (<<— needs a serious update)

Read more!

Call for experimental videos - 4/30/09

AKA sound with some images :)

The web page this links to appears to be mainly in Spanish.


March 11, 2009 at 2:43 pm · Filed under calls: external, film/video

Call for entries
Deadline 30 April 2009

TRAMUNTANA’09 3rd edition is presented as a “Conextrum” during the 16, 17, July 18 in Cadaqués/Spain (Alt Empordà, Girona) is organized by (ACVEC) Cultural Association of Video and Electronic Arts Cadaqués.

TRAMUNTANA’09 includes multimedia art installations, performances and experimental audiovisual and projection of the selection of experimental video pieces submitted this year.

TRAMUNTANA’09 to integrate audio-visual technology and nature in a current exhibition of art works created and disseminated by contemporary artists engaged in the audiovisual and artistic experimentation. Has several exhibition spaces in which the activities, which bid to link the new paradigms of art expressed through light and sound.

In this edition, [Magnetism] defines the theme of Tramuntana’09. And it fits into sections MIAC’09 (6th International Marathon Artists in Cadaqués)

Experimental videos wanted!
download the entry form


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Service learning conference/proposal - 4/17/09

The 15th annual Coaltition for Urban and Metropolitan Universities (CUMU) conference Call for Proposals

The 15th annual Coaltition for Urban and Metropolitan Universities (CUMU) conference, hosted by Widener University from October 11-13, 2009 will focus on "Building community resiliency: The role of university leadership."

The term "distressed" is frequently used in describing the urban environments in which many metropolitan universities are situated. This conference will explore how universities can promote a strengths-based approach to partnering with their communities to nurture community resiliency. Defined by Rolfe as the capacity "to respond effectively to significant adversity and risk," community resiliency depends on social capital, as well as the interactions and engagement among community members to achieve common goals. This conference will provide a forum for faculty, students and administrators to share ideas, experiences and recommendations about the leadership role that metropolitan universities can assume in promoting community resiliency.

Please join us for this stimulating meeting that will include plenary sessions, paper presentations, special topic panels, roundtables, poster sessions and student presentations.

Suggested Topics

• Strengths-based approaches

• Educational infrastructure

• Environmental threats and remediation

• Wellness and public health

• Social capital

• Economic/business development

• Impact assessment

Proposal Submission Guidelines

Individuals may submit proposals for paper presentations, panel discussions, or poster displays. Consistent with the conference theme, the content should relate to institutional commitments by urban and metropolitan universities to drive progress in their regional communities. Complete information about proposal submissions can be viewed at:

Proposals must be submitted electronically at

Submission deadline: April 17, 2009

Selection and Notification

The committee will evaluate your proposal for content, appropriateness, and interest. Notification will be sent by June 1, 2009. Conference presenters will be invited to submit papers to the editor of Metropolitan Universities journal for possible publication in a future journal issue.

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Monday, March 16, 2009

Organised Sound Journal Call - 6/15

Organised Sound
An International Journal of Music and Technology

Call for submissions

Volume 15, Number 1

Issue thematic title: The Sonic Image

Date of Publication: December 2009
Publishers: Cambridge University Press

Issue co-ordinator: Simon Atkinson (

What is the ‘image of sound’? How can the ‘sonic image’ be described and studied? This issue aims to explore the significance of the term for electroacoustic musics, as theoretical concept and phenomenon of experience. Although ideas of musical and sonic imagery appear (explicitly or implicitly) with some frequency within some musicians’ descriptions and discussions of their work, as well as within some music theoretical discourse, there has been little systematic elaboration of its nature or implications. In the context of long-standing more general debates regarding the nature of mental imagery, music, and more broadly, sound, have been significantly underrepresented.

Questions of relevance include:

* Can the ‘sonic image’ act as a focus for future interdisciplinary research that might build bridges between the cognitive and the cultural regarding our experience of sound?

* Does the term suggest approaches that might usefully locate musical practice with technology within broader experience, including media contexts where sound is recorded and reproduced?

* In what ways might ‘sonic imagery’ reveal more about mental and cultural processes involved in listening and the formation of sense and meaning in contemporary musics?

* Although musicians freely talk of the ‘musical imagination’, can this really exist independently of other modes? If not, what might this reveal to us regarding the fundamental nature of musical listening?

Alternatively, some might argue that it is a ‘wrong concept’, something too dependent on thinking not concerned with the specifics of musical or aural experience, and tied up with excessive baggage of previous philosophical and cognitive discourse.

This issue of Organised Sound is intended as a catalyst for discussion, founded on the premise that the practices of electroacoustic music over recent decades may suggest important questions in this direction, as well as that its elaboration will require fundamentally interdisciplinary approaches. Papers are sought that deal with specific musical practices, genres or listening situations (e.g. acousmatic), that are based upon analyses of specific works or approaches, or that consider existing theoretical studies through the lens of this concept/phenomenon. Within the broad terrain of electroacoustic music studies, arguments might draw upon the perspectives of fields such as Music Perception, Music Psychology, Music Cognition, Neuroscience, Semiotics, Semantics, Phenomenology, Ecologically-informed theory, Aesthetics, Media and Cultural Studies, or the examination of the ontological status of sound recording and reproduction within electroacoustic music practices.

As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

Deadline for submissions is 15 June 2009. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 15/3 as well on the journal’s website.




Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: (and download the pdf)

Properly formatted email submissions and general queries should be sent to: (not to the guest editor)

Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files) should be submitted to:

Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester, LE1 9BH

Editor: Leigh Landy

Associate Editors: Ross Kirk and Richard Orton

Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall

International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel, Mary Simoni

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Monday, March 9, 2009

Media Art Scoping

Media Art Scoping Symposium - Vital Signs II — Media art education at the intersection of science, technology and culture :: July 4 - 5, 2009 :: Victorian College of the Arts, Melbourne, Australia :: Call for Abstracts - Deadline: March 27, 2009.

The media/electronic art scoping symposium seeks to explore the current pioneering educators, artists and scientists who have brought about the dissolution of boundaries that have traditionally existed between the artistic and technological disciplines. The symposium will survey the work of media art educators who have developed new interdisciplinary curricula, facilities and information technologies.

The symposium aims to add to the media art scoping study via collaborating between leading universities in Australia currently conducting research and academic teaching and learning programs in new media/electronic arts. The symposium will explore influential theoretical, scientific and philosophical pedagogies that have influenced the development of media/ electronic arts.

It is the ambition of the scoping project to establish the basis for a functional network model. Significantly, the establishment of an online historical database and link to the symposium will provide a body of information to assist development of appropriate infrastructure reflecting an approach to training that is in tune with the distinctive characteristics of the discipline area now and for the future.

The Mass symposium calls for refereed and non referred papers, posters on the following themes:

• media art, media art histories and associated pedagogical strategies.
• media art in the context of contemporary art education.
• examples of media art, descriptions and analysis of science, media art and culture.
• creative practice as research in new media
• media art innovations in teaching and learning

These would be based on the introduction and infiltration of digital media, technologies and related pedagogies in disciplines such as Art & Design, Architecture, the Humanities, Arts & Social Sciences; as well as examples of interdisciplinarity through art-science-technology collaborations.

We particularly wish to encourage presentations from and about new developments in teaching Media Art. Proposals are welcomed from academics, artists, theorist, and researchers in media art, media art history, performance studies, literature, film, and science and technology studies.

Deadline for 200 word abstracts: 27th March 09. Please submit proposals by email to:
Julian Stadon Media Art Scoping Symposium organizer j.stadon [at] Abstracts of proposals, panel presentations and posters should be submitted in either text, RTF, or Word formats.

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Service Learning Symposium

Deadline 3/30

Universities increasingly are embracing service-learning as a model to integrate community service with learning and research. If service-learning is considered a social movement or social reform affecting higher education, a number of pertinent questions must be addressed so that service-learning can be rooted in the fabric of higher education. This symposium encourages participants to explore a wide range of issues related to research, curriculum design, assessment, institutional support, community connections and partnerships, and student development, with the goal of providing participants with perspective on critical issues, paradigms, and challenges in service-learning in higher education.
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Integrative Studies Conference - Alabama - Due March 15


31st Annual Association for Integrative Studies Conference

October 8th – 11th , 2009

Hosted by the University of Alabama

Creativity and Play Across the Disciplines

Dramatic changes in the knowledge economy make urgent approaches to learning, scholarship, and engagement that activate the creative capacities of higher education communities. From Richard Florida’s accounts of the emergence and dominance of a new “creative class” to Daniel Pink’s insistence that “right brainers will rule,” scholars and students alike are being encouraged to discern and highlight the role that creativity can and should play in giving meaning and depth to learning and understanding. This not only means celebrating and enhancing the traditional role of the arts in building cohesive learning communities, but a fuller investigation of how the paradigm of creativity can lead to a compelling vision of integration and interdisciplinarity.

To facilitate this consideration, we welcome proposals for presentations in multiple formats, including, but not limited to, roundtable discussions, integrated panels, single papers, and performances that address issues such as:

· Creativity as Core Educational Value – creativity as assessment outcome; arts participation and general education; creative capacity as distinct intelligence; creativity and empathy; creativity as introduction to diversity; creativity and the integrative learning process; creativity and interdisciplinarity; leadership and the arts; the arts in the non-arts classroom; creativity and professionalism

· Creativity and Collaboration – building innovative campus collaborations amongst artists and engineers, scientists, designers, and others; creativity as a paradigm to bridge the “divisions” of humanities, natural and social sciences; interdisciplinary research on creativity; creativity, entrepreneurship and career development; invention, innovation, and economic growth

· Creativity as a Means of Integrating Campus and Community Economies – community/campus arts partnerships; confronting deficiencies in K12 arts education; supporting students as arts entrepreneurs; creativity and community renewal; creativity and the knowledge economy; culture as an economic base

While the program committee welcomes the sharing of best practices, we are especially interested in presentations, events and conversations that self-consciously consider the complex and dynamic relationship among creativity, interdisciplinarity, and integrative learning. As always, the Association for Integrative Studies welcomes more general presentations that advance its mission to promote the interchange of ideas among scholars and administrators in all of the arts and sciences on intellectual and organizational issues related to advancing integrative and interdisciplinary studies.

Proposals (250 words) should be sent to by March 15th, 2009, and we expect to and we expect to respond to proposal writers by May 15th, 2009.

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BBC Radio Playwriting Competition - March 2009

The International Radio Playwriting Competition 2009 is a biennial competition currently in its eleventh year. The play submitted but me longer than 60 minutes in length and must never have been produced in any medium. Though entries are only accepted in English, the play may be a translation, in which case, the translator should be credited.

A winner will be announced in each of two categories - English as the first language and English as the second language. Both winners will have the opportunity to travel to London to see their plays produced on BBC Radio.
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Sunday, March 8, 2009

Future Places - call including Sound

The FUTURE PLACES Festival is an international competition celebrating digital media work. FUTURE PLACES explores the potential of Digital Media when applied to specific cultural and social environments.

The festival features exhibitions, conferences, workshops, concerts, performances and parties. We are interested in creative and new languages for interactive and media expression, and their impact on local cultures, society and public space.

March 20: Submissions will be accepted at

May 31: Submission deadline. All submissions made before the deadline will be acknowledged via email.

August 15: Prospective festival entries are informed of acceptance or rejection.

September 25: All final supporting materials must be submitted.

What is Future Places?
Thirteen days of exhibitions and events addressing the potential and the impact of digital media on local cultures.
October 12-17, 2009, in Porto, Portugal.
A project of the UT Austin|Portugal Program.

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Wet Sounds - March 28, 2009

Underwater Sound Gallery - Audio Cinema - narrative. Sound art to be touring swimming pools in England.
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Rhizome Commissions - due Apr 2, 2009

Commissioned works can take the final form of online works, performance, video, installation or sound art. Projects can be made for the context of the gallery, the public, the web or networked devices. The call for submissions is open to both national and international artists.

Proposed projects can be at any stage of production, from conception to distribution. Applications must be made and submitted online. Grant amounts range from $1,000 to $5,000 and can be applied to any aspect of the work, including labor costs, technology, or materials. In this funding cycle, Rhizome will award nine grants: seven grants will be determined by a jury of experts in the field, and two will be determined by Rhizome’s membership through an open vote.
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