Sounds Like...

Rooted/Unrouted: West Baltimore and the Highway to Nowhere

2010-07-11T06:47:00.001-07:00

I've been working on this project for the past couple of years, and I have completed the West Baltimore portion of the project.

The East-West Expressway was a planned highway to connect Route I-70 near the Baltimore Beltway through Leakin Park and many historic and/or black neighborhoods. It was to go across the harbor with a 16 lane bridge and then connect with I-95. Only a small portion of the highway was built, the "Highway to Nowhere," where 20 blocks of houses and communities were lost for a short stretch of road.

Neighborhoods, communities, and organizations eventually won the highway war, one of many across the country. The Red Line, a 14 mile transit line, will follow much of the proposed route. The Gwynns Falls Trail, a hiking and biking trail, runs through Leakin Park from where the I-70 highway stops.

This piece delves into the history and memories of residents and community activists and lets them tell their stories about the fight to stop the highway and how things have changed since from both the planning and community perspective.

The piece can be found on Sound Cloud as an MP3 -
http://soundcloud.com/bad-crow/rooted-unrouted-west

Encounters Film Festival - UK

2009-06-03T05:19:00.000-07:00

Due 6/30/09

http://www.encounters-festival.org.uk/

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.

Noveau Cinema Festival - Montreal

2009-06-03T05:06:00.000-07:00

Due 6/30

http://www.nouveaucinema.ca/2008/en/

Conference - Teaching Citizenship & Civility

2009-05-29T17:45:00.000-07:00

http://slpapers-proposals.blogspot.com/2009/05/international-conferenceteaching.html

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 Wade.Robison@rit.edu.

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, DWerner@stlcc.edu 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.

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

2009-05-07T04:44:00.000-07:00

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
Garden

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: http://www.wpadc.org/events/calls2.html

Download Call for Entries: http://www.wpadc.org/pdf/EMS_2009.pdf

Audio Art call

2009-04-20T16:05:00.000-07:00

http://www.artslant.com/global/articles/show/6500

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 espacioaudio@gmail.com.

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 http://espacio-audio.blogspot.com.

Astrodime Intransit - FEED call

2009-04-12T07:36:00.001-07:00

http://astrodime.wordpress.com/current-call-for-work/

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 bebebeard@gmail.com
General AstroDime Questions: rocketscience@virtualberet.net
AstroDime Website: www.astrodime.wordpress.com/
FEED: the Exhibition: www.reanimationstudios.com/feed

Lausanne Underground Film Festival

2009-04-12T07:10:00.000-07:00

Switzerland

http://www.nmartproject.net/netex/?p=1004

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 -
http://www.luff.ch/en/festival/news/archive/2009/april/article/appel-a-candidature/

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

2009-04-12T07:07:00.001-07:00

http://www.improvart.com/nsa/

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 - http://www.improvart.com/nsa/Call2009.htm

AES Call for Papers - 127th Conv. - NYC

2009-03-26T18:47:00.000-07:00

http://www.aes.org/e-news/2009/Mar20.cfm#aes127

Proposal deadline: 2009 June 5
Acceptance emailed: 2009 June 30
Paper deadline: 2009 August 3
Email: 127th_papers@aes.org

AUDIO ENGINEERING SOCIETY
CALL for PAPERS
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 www.aes.org/127th_authors. 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
2009
127th Convention
New York
1150 J. Audio Eng. Soc., Vol. 55, No. 12, 2008 December

PROPOSED TOPICS FOR PAPERS

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
Internet
Digital broadcasting and integrated
services
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
instruments
Audio content management
Recording, Production, and
Reproduction
Studio recording techniques
Audio production in the PC
Sound reinforcement
Live sound production
Multichannel sound
Audio Equipment
Transducers
Amplifiers
Wearable audio
Wireless audio
Micromachining for audio
Instrumentation and
measurement
Perception
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)

Expo Leeds - Submissions due 5/29

2009-03-19T06:58:00.000-07:00

http://leeds.expofestival.org/

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

-
Plans
Floor Plans

Images
See left

Website
www.leeds.gov.uk/cityMuseum/City_Museum/
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
London
SE1 OLN
United Kingdom
---------------------
EXPO LEEDS

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).
---------------

SONOIMAGENES 2009 – CALL FOR WORKS - Apr 2009

2009-03-17T15:22:00.000-07:00

SONOIMAGENES 2009 – CALL FOR WORKS
http://www.sonoimagenes.netfirms.com/

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”)

Duration:
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:
Festival “SONOIMAGENES”
Universidad Nacional de Lanús
Departamento de Humanidades y Artes
29 de Septiembre 3901 (B1826GLC)
Remedios de Escalada – Prov. de Buenos Aires
ARGENTINA

See more info on their webpage

Oral History Call - Papers/Works

2009-03-17T15:15:00.000-07:00

http://storytelling.concordia.ca/storiesmatter/?p=665#more-665

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

Main info:
Remembering War, Genocide and other Human Rights Violations:
Oral History, New Media and the Arts
CALL FOR PROPOSALS
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 shigh@alcor.concordia.ca .

The conference is co-sponsored by the Centre for Oral History and Digital Storytelling at Concordia University (http://storytelling.concordia.ca) and the Life Stories of Montrealers displaced by War and Genocide project (www.lifestoriesmontreal.ca), 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.

Creative Campus Grant

2009-03-17T15:08:00.001-07:00

http://www.apapconference.org/creative-campus-guidelines-and-application.html

"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

Electronic Art (including sound art) - in Bruges!

2009-03-17T14:50:00.000-07:00

http://www.nmartproject.net/netex/?p=724#more-724

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
http://www.imeb.net/MFLi/index.php?option=com_content&task=view&id=1116&Itemid=330

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 competition.bourges@gmail.com

Green Exhibition - Apr 09

2009-03-17T14:48:00.000-07:00

http://www.nmartproject.net/netex/?p=753

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: duotheatre@gmail.com

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

Duo Multicultural Arts Center
PO Box 1200
Cooper Station,
New York, NY 10276
USA

Radio Art Contest Madrid - Apr 09

2009-03-17T14:46:00.000-07:00

http://www.nmartproject.net/netex/?p=766

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
http://cdmc.mcu.es/en/activities/109/

in Spanish
http://cdmc.mcu.es/php/es/convocatorias_convocatoria.php?nota=33

RULES

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)
www.arssonora.es
Foro de Ars Sonora:
http://fororadioclasica.rtve.es/viewtopic.php?f=5&t=67

Soundart call - due NOW

2009-03-17T14:43:00.000-07:00

http://www.nmartproject.net/netex/?p=773#more-773

Call for entries
Deadlines:
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’.

What:

‘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.

============

When/Where:

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.

http://linz09.medienkulturhaus.at/

============

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.)

—————

Submission:
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.)

—————————

IMPORTANT NOTES:

• 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 >> http://creativecommons.org/about/licenses/

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

————————-

Submission info:

Electronic submission (preferred)

• Drop file(s) at http://dropbox.yousendit.com/picnic939068

(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

———

Deadlines:
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.

———-

Inquiries:
email me: oblaten@gmail.com

==============

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

Keiko Uenishi (o.blaat)
http://myspace.com/oblaat
http://obla.at (<<— needs a serious update)

Call for experimental videos - 4/30/09

2009-03-17T14:39:00.000-07:00

AKA sound with some images :)

http://www.nmartproject.net/netex/?p=819

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

call: TRAMUNTANA’09

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

+INFO http://virb.com/tramuntana09

Service learning conference/proposal - 4/17/09

2009-03-17T14:34:00.000-07:00

http://slpapers-proposals.blogspot.com/2009/02/15th-annual-coaltition-for-urban-and.html

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:

www.cumuonline.org/conference

Proposals must be submitted electronically at www.widenerconferences.com/cumu.html

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.

Organised Sound Journal Call - 6/15

2009-03-16T06:31:00.001-07:00

http://journals.cambridge.org/action/displaySpecialPage?pageId=1444

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 (satkinson@dmu.ac.uk)

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.

---

SUBMISSION DEADLINE: 15 June 2009

SUBMISSION FORMAT

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:

http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk (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
UK

Editor: Leigh Landy

Associate Editors: Ross Kirk and Richard Orton

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

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

Media Art Scoping

2009-03-09T14:38:00.000-07:00

http://transition.turbulence.org/blog/2009/02/03/media-art-scoping-symposium-melbourne/#more-8718

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] curtin.edu.au Abstracts of proposals, panel presentations and posters should be submitted in either text, RTF, or Word formats.

Service Learning Symposium

2009-03-09T14:33:00.000-07:00

http://www.uindy.edu/issl2009/

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.

Integrative Studies Conference - Alabama - Due March 15

2009-03-09T14:30:00.000-07:00

http://www.hastac.org/node/1963

CALL FOR PROPOSALS

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 AISconference@bama.ua.edu by March 15th, 2009, and we expect to and we expect to respond to proposal writers by May 15th, 2009.

BBC Radio Playwriting Competition - March 2009

2009-03-09T14:19:00.000-07:00

http://www.mladiinfo.com/contests/international-radio-playwriting-competition-2009.html

http://www.bbc.co.uk/worldservice/programmes/radioplay_form.shtml

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.

Future Places - call including Sound

2009-03-08T13:49:00.000-07:00

http://colab.ic2.utexas.edu/futureplaces/2009/03/future-places-2009-is-up-and-running/

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 www.futureplaces.org

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.

Wet Sounds - March 28, 2009

2009-03-08T05:03:00.000-07:00

Underwater Sound Gallery - Audio Cinema - narrative. Sound art to be touring swimming pools in England.

www.newtoy.org/wetsounds

Rhizome Commissions - due Apr 2, 2009

2009-03-08T05:01:00.000-07:00

http://www.rhizome.org/commissions/

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.

Call for Bracket - sound, video, photo, etc.

2008-12-12T08:52:00.000-08:00

http://www.experiencias36.com/?p=737

http://www.brkt.org/

ISSUE #1: ON FARMING

Please submit unpublished work (images, text, sound, video) addressing the theme of On Farming, including: urbanisms, emergent architectures, landscape interventions, crop circle mappings; irrefutable evidence; visionary manifestos for the future; apocalyptic scare tactics; survival strategies and recipes. Please indicate which sub-theme your submission applies to.

Upload submission proposals as a PDF in the form of:
- 1000-2000 word text with images / drawings
- Design images (built or unbuilt) / drawings with 300-500 word description
- Video
- Audio

Feb 2, 2009 - deadline

Jury Review: February 2009

Notification and Editing: March 2009

Book release: October 2009
Please see the Submit section to upload your submission

Please contact us for audio and video submissions.
The first edition of [bracket] is centered around the theme of farming. Once merely understood in terms of agriculture, today information, energy, labour, and landscape, among others, can be farmed. Farming harnesses the efficiency of collectivity and community. Whether cultivating land, harvesting resources, extracting energy or delegating labor, farming reveals the interdependencies of our globalized world. Simultaneously, farming represents the local gesture, the productive landscape, and the alternative economy. The processes of farming are mutable, parametric, and efficient. From terraforming to foodsheds to crowdsourcing, farming often involves the management of the natural mediated by the technologic. Farming, beyond its most common agricultural understanding is the modification of infrastructure, urbanisms, architectures, and landscapes toward a privileging of production.

With a global food crisis looming, even the traditional farm's impact on land, resources, and economics is in need of re-visioning. Other innovations have led to a growing number of people investing in shares of a local farmer's crop, reducing trips to the supermarket and the cost of shipping food. Energy farming has seen immense diversification in the last decade with essential innovations in renewable energies such as wave farms, wind, tidal, solar, and even piezoelectrical. Investment in wind power alone rose from an $8 billion per year plateau from 2002-2004 to more than $18 billion annually on average for 2008-2010, with most of the growth in North America and Asia. Information farming has also seen an incredible rise in the last 5 years and, in fact, could be architecture's newest building typology, the "data campus." Google recently completed a 30-acre server farm in Oregon on converted agricultural land. And Yahoo has recently purchased 50 acres of land in Quincy, Washington for a massive internet data-processing facility.

What are the logistics governing these examples of farming? How has technology informed the public realm of these processes? How are different forms of farming modifying our regions, cities, buildings, and landscapes?

Fish farms, server farms, energy farms, urban farms, information farms, wikipedia, facebook; our contemporary daily life owes so much to the resourceful, convenient intelligence of collectivity. How is it shaping or how could it shape our cities and buildings? How are these developments shaping our natural environment? And what are new potentials for these typologies? These are the issues and questions that designers and writers are asked to respond to.

Double Vision - Pittsburgh

2008-12-06T04:29:00.000-08:00

http://lukeandeloy.ning.com/

Call for Artists: "Double Vision"
Exhibition: March 7, 2009 - April 18, 2009
Deadline for Submissions: February 2, 2009

LUKE & ELOY GALLERY currently reviews images for the gallery's exhibition "Double Vision" scheduled for March 7, 2009 - April 18, 2009.

We are interested in artists who use a variety of art and craft media to express contemporary issues (Multi-Disciplinary Artists.) All media combinations will be considered including but not limited to painting, sculpture, art jewelry, mixed media, paper, textiles, clay, metal, wood, glass, photography, video and performance.

All artwork must be one-of-a-kind originals or limited edition pieces created by the artist. We are especially interested in unusual combinations, eg: audio/painting, video/jewelry and the like. Mass produced pieces are not acceptable. Wall or ceiling hung work must be tightly wired for hanging; no saw tooth bars, please.

All artwork submitted for review and exhibition must be for sale and remain at LUKE & ELOY GALLERY throughout the exhibition. A gallery commission on all sold works will apply. Artists are responsible for delivery (and insurance) of work in transit to and from the gallery. Work that is not hand-delivered but shipped must also be accompanied by appropriate return shipping costs in the form of a prepaid FEDEX, UPS, or US mail return label (or a check in the appropriate amount .)

Eligible to submit are US artists 18 and older. Students currently enrolled in undergraduate or graduate art programs are also welcome to apply.

Please submit to LUKE & ELOY via mail only and include:
* Artist entry form (available here: ENTRY FORMS)
* up to 20 digital images on CD (clearly labeled with artist's name),
* image descriptions,
* artist's resume,
* artist's statement,
* prepaid return shipping label
* $25 entry fee,
* a SASE.

Artists selected for exhibition will be informed promptly after the submission deadline, their informational and background materials will be kept at the gallery for promotional use.

Schedule:
Deadline for Submission: February 2, 2009
Work delivered to Gallery: By February 20, 2009
(Please call or email ahead if dropped off personally)
Exhibition Opening: March 7, 2009 11 am - 5 pm
Last Exhibition Day: April 18, 2009 11 am - 5 pm
Return of unsold work: Artists are responsible for arranging pick up of unsold works. Pick up must be made during the 2 weeks immediately following the closing of the exhibiton (April 20 - May 1, 2009) unless other arrangements have been coordinated with the gallery Director.

IMPORTANT:
Mail submissions to: Luke & Eloy, 5169 Butler St., Pittsburgh, PA 15201.
Do not send original artwork to the gallery unless coordinated with the Director. Delivery address for artwork will be given to the artist upon acceptance into an exhibition and will depend on size of work and storage considerations.

Service Learning Call

2008-12-05T13:24:00.000-08:00

CALL FOR PAPERS
Student Learning for Social Change: Interdisciplinary Community-Based Research
How can higher education most effectively prepare future citizens for the enterprising work necessary for social sustainability and advancement? In this book, we advance interdisciplinary public or community-based research as a transformative higher education strategy to answer this call. Partnerships that involve citizens and public leaders, diverse faculty and students in collaborative community-based inquiry and action hold promise for a unique combination of pedagogical, scholarly, and public outcomes necessary for facing 21st century challenges.

Increasingly, community-based research (CBR) projects are growing beyond disciplinary boundaries, responding to the reality that the real issues being addressed in the community necessitate multiple perspectives, knowledge bases, and even methodologies. Disciplinary diversity can include multiple academic disciplines, and can also include different community sectors. Such public interdisciplinary projects raise new practical and pedagogical challenges. But the growing experience base suggests that they hold potential for creating path-breaking approaches to multifaceted societal issues while at the same time educating future leaders.
This book will explore and offer models and practical strategies for interdisciplinary CBR projects as undergraduate pedagogy. The ways in which interdisciplinary CBR projects can contribute at once to student learning, community, and scholarly outcomes will be discussed. Special attention will be given to innovative strategies for students’ learning in this unique public and interdisciplinary context - including learning contexts (e.g., learning communities, community-campus collaborative networks, novel learning structures, communities as learning contexts), student preparation strategies (e.g., course sequences, orientation approaches, gateway experiences), mentoring approaches to prompt deepening civic development, and techniques for advancing interdisciplinary deliberation and innovation. Illustrative case studies, including an array of academic disciplines, community sectors, and pressing issues will provide readers with diverse examples of the transformative potential of interdisciplinary CBR projects. Student learning outcomes assessment, as well as assessments of community impacts and social change outcomes will be included and reflected upon to inform best practice development. Strategies for planning and implementing interdisciplinary CBR projects will be provided, including perspectives from the different partners in such ventures.
Invitation for Proposals
Proposals (1000 – 1500 words in length) are invited that detail contribution(s) to advancing understanding of interdisciplinary CBR as undergraduate pedagogy and as a social change agent. Invitees are encouraged to share this call for proposals with community partners; collaborative proposals are encouraged.
Development of this book project will be an interactive and collaborative process. Initial proposals will be reviewed by the editors and will result in invitations to a working conference on interdisciplinary community-based research. The working conference will facilitate exchange and collaboration among participants and will result in plans for book chapters. This book project is an initiative of the National Community-Based Research Networking Initiative, supported by a three-year grant from the National Corporation for National Service Learn and Serve America Program.
Timetable
December 15, 2008 Proposals for working conference due.
January 15, 2009 Proposal review completed and invitations issued to working conference.
April 18-20, 2009 Working conference on interdisciplinary community-based research, culminating in chapter plan.
September 1, 2009 Chapter draft due.
October 15, 2009 Feedback on chapter drafts to authors.
December 15, 2009 Final chapter manuscripts due.
Please submit proposals electronically to Beth Paul (bethpaul@tcnj.edu) and Trisha Thorme (tthorme@princeton.edu). We look forward to working with you on this important project.
Beth Paul, Vice Provost, The College of New Jersey
Trisha Thorme, Assistant Director, Community-Based Learning Initiative, Princeton University

SoundImageSound call

2008-11-30T06:16:00.000-08:00

http://cgi.sfu.ca/~musicu/cgi-bin/?q=node/166

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:

http://www1.pacific.edu/~rcoburn/events/soundimagesound/index.php

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 - rcoburn@pacific.edu

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

http://www1.pacific.edu/~rcoburn

For the masses...

2008-11-27T08:33:00.000-08:00

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....

The Missouri Review - Audio competition

2008-11-26T11:39:00.000-08:00

http://www.missourireview.com/contest/audio_competition.php

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.

Documentary

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.

Video

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: contest_question@moreview.com

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

Third Coast Audio Festival

2008-11-26T06:39:00.000-08:00

Calls for entries announced - May 2009

New Media Caucus Call

2008-11-23T09:43:00.000-08:00

http://www.newmediacaucus.org/journal/issues.php?f=papers&time=2008_winter&page=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.

International festival

2008-11-23T07:19:00.000-08:00

http://www.nmartproject.net/netex/?p=428
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

Casablanca
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:
festivalirisson@yahoo.fr
majid.seddati1@yahoo.fr

WRO 09 Expanded City

2008-11-22T18:37:00.001-08:00

http://neme.org/main/889/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 wro09.wrocenter.pl/entry/. 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.
Schedule

* 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
www.wrocenter.pl | info@wrocenter.pl

FLEFF Festival

2008-11-22T18:19:00.000-08:00

http://newmediafix.net/daily/?p=2095

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 www.ithaca.edu/fleff/exhibitons/ubuntu/ for the curators’ essay and descriptions of selected works last year’s exhibit ubuntu.kuqala, as well as the 2007 exhibit, Undisclosed Recipients, www.ithaca.edu/fleff07/selected_works.html and www.ithaca.edu/fleff07/exhibitions.html#undisclosed 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 @amherst.edu

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 @ithaca.edu and Patricia R. Zimmermann patty@ithaca.edu.

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.

Future festival

2008-11-22T04:11:00.000-08:00

http://radialx.radiozero.pt/index_en.html

Biennial, took place in Sept 2008 in Portugal.

Radio art.

Some sites to look at later

2008-11-22T04:02:00.001-08:00

http://www.myspace.com/colbertmaile
binauralmedia.org

Shut up & listen festival - next year

2008-11-22T04:00:00.001-08:00

Sound art & visuals.

Vienna.

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

Sound:Frame

2008-11-21T13:42:00.000-08:00

Vienna sound/video festival

http://www.soundframe.at/sf_entry_e.html

Installs - sound art, remixing, sounds with visuals.

SEAMUS Conference - 2010

2008-11-21T04:10:00.000-08:00

Entries due in October.

Do this next year!!!!!

2 internal conferences

2008-11-19T07:55:00.000-08:00

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

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

dog art

2008-11-19T04:34:00.000-08:00

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

INTERNATIONAL CALL FOR ENTRIES
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
Website: http://www.artshowatthedogshow.com
Prospectus: http://www.artshowatthedogshow.com

Film on H2O

2008-11-19T04:33:00.000-08:00

INTERNATIONAL CALL FOR ENTRIES
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
Website: http://greatriverarts.org/
Prospectus: http://greatriverarts.org/mainpages/h20.htm

Hun Gallery - NYC - includes audio

2008-11-19T04:29:00.000-08:00

INTERNATIONAL CALL FOR ENTRIES
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
Website: http://hungallery.org
Prospectus: http://hungallery.org/event.php

GLBT call

2008-11-19T04:28:00.000-08:00

NATIONAL CALL FOR ENTRIES
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
Website: http://www.2ndcitycouncil.org
Prospectus: http://www.2ndcitycouncil.org

Lange-Taylor Documentary

2008-11-19T04:25:00.000-08:00

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
Website: http://cds.aas.duke.edu/l-t/

Prospectus: http://cds.aas.duke.edu/l-t/lt2009.pdf

Solo Exhibit call - Torpedo Factory

2008-11-19T04:23:00.000-08:00

http://www.torpedofactory.org/galleries/targetcallforentry.htm

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
Email: targetgallery@torpedofactory.org

Reclaimed - Torpedo Factory

2008-11-19T04:19:00.000-08:00

http://www.torpedofactory.org/galleries/targetcallforentry.htm

Reclaimed
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
Email: targetgallery@torpedofactory.org

Location/Dislocation - Art

2008-11-17T06:07:00.000-08:00

Calls For Papers
Location/Dislocation

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 eobrien@csus.edu or mail them to Elaine O'Brien, Art Department, California State University, Sacramento, 6000 J Street, Sacramento, CA 95819-6061.

MATA Festival

2008-11-17T06:05:00.000-08:00

http://www.nmartproject.net/netex/?p=424

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 Â 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:

MATA
293 Warren Street, #2
Brooklyn, NY 11201
USA-
Tel: (212) 563-5124
-
Email: info@matafestival.org
Web: www.matafestival.org-

ABOUT MATA
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.Â 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.

Keele Biennial Conference on Music

2008-11-17T05:52:00.001-08:00

Call for Papers

SIXTH BIENNIAL INTERNATIONAL
CONFERENCE ON MUSIC SINCE 1900
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)

DEADLINE FOR PROPOSAL SUBMISSION: 1 DECEMBER 2008

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: n.w.reyland@keele.ac.uk

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

CONFERENCE BOOKING AND BURSARY COMPETITION OPEN IN JANUARY 2009
Visit http://www.keele.ac.uk/depts/mu/staff/conference.htm for updates

***

Call for Compositions

SIXTH BIENNIAL INTERNATIONAL
CONFERENCE ON MUSIC SINCE 1900
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: d.garro@mus.keele.ac.uk

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.

SUBMISSION GUIDELINES

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 d.garro@mus.keele.ac.uk 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

DEADLINE FOR PROPOSAL SUBMISSION: 1 DECEMBER 2008
Successful applicants will be informed by 12 January 2009

CONFERENCE BOOKING AND BURSARY COMPETITION OPEN IN JANUARY 2009
Visit http://www.keele.ac.uk/depts/mu/staff/conference.htm for updates

404 festival

2008-11-17T05:40:00.000-08:00

http://www.404festival.com/eng/home.htm

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

SEASON VI
“404 FESTIVAL” / 2009
Rosario/Argentina

Download the entry form as WORD .doc file

TERMS AND GENERAL CONDITIONS FOR SUBMISSION
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 404entry@gmail.com
c) Send the works (CD or DVD) by postal mail to the following address:

FESTIVAL 404
Universidad Nacional de Rosario
Maipú 1065
(2000) Rosario
Santa Fe
Argentina

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:

NET-ART
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

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

ANIMATION
1 CD with file in .SWF format (Flash)

VIDEO
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.

AUDIOVISUAL SET
1 DVD NTSC (standard format for DVD reproduction)

MUSIC
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.

THEORY
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.

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

INSTALLATION
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 www.astasromas.org and/or the 404 Festival Website www.404festival.com. 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 www.404festival.com

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.

Place/Video call

2008-11-15T04:16:00.000-08:00

Investigations of Place

http://neme.org/main/913/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

Sound call

2008-11-14T04:28:00.000-08:00

http://www.nmartproject.net/netex/?p=420

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
submission@mutek.org or
send via regular mail to the following address:

Submission 2009
c/o MUTEK
473 St Joseph Blvd East
Montréal, Quebec
H2J 1J8, CANADA

* 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.

http://www.mutek.org
submission@mutek.org

Great call - Sounds & Silence 1914-1945

2008-11-13T20:24:00.000-08:00

http://www.collegeart.org/opportunities/listing/2788/

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 (doss.2@nd.edu).

Possible call

2008-11-13T20:22:00.000-08:00

http://www.collegeart.org/opportunities/listing/2825/

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 www.uica.org.

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

The Contact:
info@uica.org
www.uica.org

Sound Art Call

2008-11-13T20:21:00.000-08:00

http://www.collegeart.org/opportunities/listing/2839/

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:
Garage
4141 Alabama Street #4
San Diego, CA 92104

Deadline is 03/01/2009

Calls for National Conference for Volunteering and Service

2008-11-10T09:17:00.000-08:00

http://www.volunteeringandservice.org/rfp/

November 15 (coming up)

Panel

Journal of Community Engagement and Higher Education

2008-11-10T09:15:00.000-08:00

http://www1.indstate.edu/jcehe/

New journal.

Deadline?

Service Learning Call - DC - February 2009 deadline

2008-11-10T09:13:00.000-08:00

http://www.servicelearning.org/rss/2008/10/from-nice-to-necessary-2009-dc.html

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 natasha.ballentine@dc.gov.

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:
Email: natasha.ballentine@dc.gov
Mail:
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

National Civic Review journal article

2008-11-10T08:31:00.000-08:00

http://www3.interscience.wiley.com/homepages/104087678/ncrauthormanual.pdf

Maybe with Audrey?

Unknown deadline date.

Service Learning Call for Proposals - 1/1/09

2008-11-10T08:21:00.000-08:00

http://www.compact.org/opportunities/detail/4449

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).

Sandra

——-

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:

Theme:
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
sposey@csupomona.edu

Due date: Jan 1, 2009

Call for Scores

2008-03-21T14:22:00.000-07:00

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

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

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

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

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

[big edit]

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

Please send all materials to:

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

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

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

_______________________________________________
Sanlist mailing list
Sanlist@lists.sonicartsnetwork.org
http://lists.sonicartsnetwork.org/listinfo.cgi/sanlist-sonicartsnetwork.org

Tuned City call

2008-03-21T14:19:00.000-07:00

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

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

ADDRESS: proposals@tunedcity.de

ABOUT TUNED CITY:

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

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

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

TOPICS:

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

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

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

PRODUCTION TEAM:

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

CONTACT:

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

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

Art of Record Production - Call for Papers

2008-03-21T05:19:00.000-07:00

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

Themes:

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

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

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

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

Radio Ephemera

2008-03-20T09:41:00.000-07:00

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

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

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

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

Guidelines:

Radio Ephemerizing is easy as pie!

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

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

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

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

And an important one:

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

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

How to submit to Radio Ephemera:

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

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

Please include the following information:

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

Creative Capital Grant - missed it this year :(

2008-03-15T06:21:00.000-07:00

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

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

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

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

May not be for another 4 years....

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

Call for Music - Sound & Music Computing Conference

2008-03-11T09:49:00.000-07:00

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

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

Space in Sound – Sound in Space
Call for music

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

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

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

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

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

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

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

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

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

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

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

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

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

(1) Acousmatic works

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

(3) works for wave field synthesis.

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

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

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

Works should not exceed a duration of 15 minutes.

The submitted pieces will be selected by a jury.

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

DEGEM-WebRadio

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

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

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

Competition Conditions

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

Deadline for Application:
Wednesday, May 15th 2008.

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

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

_______________________________________________
Sanlist mailing list
Sanlist@lists.sonicartsnetwork.org
http://lists.sonicartsnetwork.org/listinfo.cgi/sanlist-sonicartsnetwork.org

Call for Papers - Sound & Music Computing Conference

2008-03-11T09:46:00.000-07:00

International???

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

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

Space in Sound – Sound in Space

Call for papers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

_______________________________________________
Sanlist mailing list
Sanlist@lists.sonicartsnetwork.org
http://lists.sonicartsnetwork.org/listinfo.cgi/sanlist-sonicartsnetwork.org

Vanishing Landcapes call

2008-03-10T12:04:00.000-07:00

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

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

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

Aspect DVD publication - call

2008-03-10T12:02:00.000-07:00

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

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

Unfamiliar Ground

2008-03-10T11:58:00.000-07:00

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

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

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

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

College Art Association call - 2009

2008-03-10T11:37:00.000-07:00

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

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

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

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

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

Society of Environmental Journalists - Radio Entry - April 2009

2008-03-02T08:44:00.000-08:00

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

Radio story up to 10 minutes long

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

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

http://www.sej.org/

Paul Robeson Fund - Grant

2008-03-02T08:33:00.000-08:00

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

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

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

Deepa Fernandes
Hear Our Voices/Radio Rootz
Robeson Fund Grantee

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

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

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

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

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

Call for submissions - Art & Ecology

2008-03-02T08:01:00.001-08:00

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

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

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

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

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

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

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

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

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

Enterprise Foundation - Urban Journalism

2008-03-02T07:32:00.000-08:00

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

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

Topics may include, but are not limited to:

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

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

Maybe for March 2009

Call for Soundart

2008-03-02T05:36:00.000-08:00

call: soundart for SoundLAB VI

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

Call for proposals
Deadline 30 November 2008

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

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

SoundLAB VI - soundPOOL
sound compositions - a challenge for imagination

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

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

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

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

___________________________________________
Please download regulations and entry form as PDF

Regulations for
sound compositions to be submitted

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

___________________________________________
Entry form
___________________________________________

artist/author

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

Work

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

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

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

Deadline: 30 November 2008
___________________________________________

CMMAS Journal

2008-02-22T13:22:00.000-08:00

The Mexican Center for Music and Sonic Arts (CMMAS) is pleased to solicit submissions for the upcoming launch of a new journal devoted to activities in electroacoustic music and sonic art. This journal, entitled SonicIdeas/IdeasSonicas will be published both online and in printed format. The aims of the journal are to encourage, develop and disseminate information about activities and developments in the field, and in particular to foster interaction between Spanish and English speaking composers, performers, researchers, and listeners.

The journal will be open to all aesthetic and scholarly viewpoints and approaches.

The journal will seek to publish novel and challenging perspectives on approaching technology and its influence on music and sound art, and will seek to promote serious research and debate on these topics.

Authors whose contributions are published assign CMMAS the non-exclusive rights to disseminate their work in every form of media, within legal limits. Authors must posses, and provide proof of such possession with their submission, the legal right to reproduce any secondary copyright materials. Submitted articles may have been previously published.

The journal will publish articles in either Spanish or English; submissions will be accepted in either language, and will be published in the submitted language. Dual-language publication will also be considered on a case-by-case basis. Articles on any aspect of electroacoustic music/sonic art will be considered, as will reviews, analyses, historical studies, tutorials and other pedagodical articles, and studio/regional/festival reports. Other proposals are welcomed. Authors must submit their proposed articles via email or on disc. Documents must be submitted as Microsoft Word documents, including all necessary graphics and musical examples. Audio examples will be considered for the online version of the journal.

The deadline for submisions for the first issue is March 10, 2008. Authors should submit their proposed material, a brief (ca. 100 word) biography and contact information, including instituional affiliation, if any.

Formatting guidelines:

2.5 cm left and right margins
Page numbers centred at the bottom of the page, 1.25 cm from the bottom of the page
Times New Roman, 12pt font
Justified text
Headings: centred and bold in 14pt font, preceeded and followed by an 18pt space.
Italics are to be used for all quotations, note names and titles
Quotations longer than four lines should be formatted as a block quote (left indent by 1 cm), and preceeded and followed by an 18pt space (line spacing within the block quote is 20pt).
Underlining or other forms of emphasis should not be used.
Footnotes: 10pt font; text left-indent by 1cm (from footnote number); to be numbered through. Footnote numbers are to be put in superscript.
Line spacing 20pt; 12pt for footnote
The first line of each paragraph should be indented by 1cm.
Single spacing within paragraphs
Illustrations, such as musical examples or tables, should be integrated within the body of the text, centered with a 10pt caption (captions are to be below the illustration) and numbered.
The layout of the different types of contributions should start as follows:
Articles and short contributions (e.g. conference reports) should begin with the title (centred, bold and in 14pt font), followed by 18pt spacing. This is to be followed by the name of the author (centred): "by [First Name, Surname]" (no title), followed by 18pt spacing.
A review should begin with the name of the author and the title of the publication/recording(s) reviewed, followed by the publication information (centred, bold, 14pt font; the title in italics): First Name Surname: title, Place: Publishers, Year. Followed by 18pt spacing. Then the name of the reviewer (in normal font): "Review by [First Name, Surname]" (no title), followed by 18pt spacing.

Michael Matthews, Guest Editor (HYPERLINK "mailto:michaelmatthews1@mac.com"michaelmatthews1@mac.com)
Centro Mexicano par la Música y las Artes Sonoras
Casa de la Cultura, planta alta
Morelos Nte. # 485, centro
C.P. 58000, Morelia, Michoacán
México

Tel (+ 52) 443 317-5679
HYPERLINK "http://www.cmmas.org/"www.cmmas.org

**********************************
Dr. Rodrigo Sigal
Director
Centro Mexicano para la Música y las Artes Sonoras
Mexican Centre for Music and Sonic Arts
rodrigo@rodrigosigal.com
www.rodrigosigal.com
www.cmmas.org
+52-443-3175679
**********************************
Festival Internacional Visiones Sonoras (www.visionessonoras.org)
Conoce la Red de Arte Sonoro Latinoamericano en www.redasla.org
Also visit: www.dam-music.org

Maryland Humanities Grant

2008-02-10T04:27:00.000-08:00

http://www.mdhc.org/grants/

Due Date: 3/3 for review

Paste more in summary

Art of Record Production - Call for Papers

2008-02-10T03:55:00.001-08:00

The Fourth Annual Art of Record Production Conference 2008
Nov. 14 - 16, 2008
Hosted by William Moylan at The University of Massachusetts Lowell,
Lowell, Massachusetts, USA

http://www.ArtOfRecordProduction.com
Apologies for cross posting

Call For Papers

Conference Summary:
The ARP Conference gathers together industry professionals, academic
scholars, and musicians who utilize and study recording technology as
a principle means of creative expression. It is the aim of this
conference to facilitate the exchange of ideas between these groups,
drawing upon broad areas of expertise, and providing a unique
opportunity for individuals to inform, challenge, and stimulate the
discourse surrounding the intersection of technology and music. ARP
provides a platform for the exchange of ideas and multiple
perspectives across disciplines.
The conference addresses a range of topics such as; how creative
expression is achieved through technological practices; how changes
in recording technology have impacted upon and informed musical
practices; the so-called "democratization" of access to modes of
creative expression and the resultant opportunities for the
distribution of recorded work in the age of computer-based recording
and the Internet.
The conference will comprise academic papers, industry speakers and
panels, practical demonstrations and masterclasses as well as
plentiful opportunities for networking and informal debate.

The 2008 Conference will deliver four streams of papers and panels
around the following topics:

1. The Studio as Musical Instrument.
In 1983 Brian Eno described the recording studio as his musical
instrument. After several decades of technological change, it is
worth considering how the definition of what constitutes a "studio"
has shifted, and the various technological, economical, and political
impacts these shifts have had and continue to have on contemporary
music. What does “The Studio as Musical Instrument” mean today? How
has recording practice affected composition, arranging and song
writing practice? How have “composer,” “performer,” “engineer,”
“conductor,” or “musician” been redefined? How has the “recording
studio” changed music and music making? Please send proposals for
this stream to: arp08_smi@artofrecordproduction.com

2. Recording Practice and Performance.
How have changes in recording practice affected performance practice
amongst recording musicians? How has technology influenced the sound
art which results? How do record producers, musicians and sound
engineers communicate in the studio? How do they view each other? How
have the control surfaces of the studio been absorbed into and
influenced musical performance? How do issues such as comfort and non-
verbal communication between musicians balance against separation and
audio quality in the recording process? How is the creative power
distributed between musicians, producers, record companies and
technicians? Please send proposals for this stream to:
arp08_rpp@artofrecordproduction.com

3. The Empowered Artist
The means for composing, performing, recording, promoting and
distributing sound recordings is available to all artists. Is the
‘capability’ to do it all being matched by the ‘ability’ to do it
well? Are the potentially conflicting challenges of business and
creation being juggled without undermining the economic or artistic
value of what results? How has low-cost audio production technology
impacted the recording industry, both economically as well as in re-
casting the creative technologies contained in professional
facilities? Please send proposals for this stream to:
arp08_tea@artofrecordproduction.com

4. Production and the Listener

How aware are listeners of the possibilities and actualities of
production? How aware are the industry professionals who are not
involved in production? How do production practices impact on notions
of authenticity? Are alternative mixes regarded by listeners as
aesthetically equivalent? Do producers work with specific listening
environments or audiences in mind? How has this impacted on the
historical development of record production? Please send proposals
for this stream to: arp08_pl@artofrecordproduction.com

Other subject areas will be considered and we encourage the
submission of papers on any topic associated with the art of record
production.

Proposals for individual papers and poster presentations should not
exceed 300 words.

Proposals for panels should include the names and brief CVs of all
panel members and their individual contributions and should not
exceed 1000 words.

The deadline for proposals is the 15th April 2008.
General enquiries can be addressed to: simonzt@artofrecordproduction.com

Best wishes,
Simon

Simon Zagorski-Thomas
The Art of Record Production - Conference and Journal
http://www.artofrecordproduction.com

_______________________________________________
AES Educator's Forum
AESeducators@aes.org

Sonic Fragments: Narrative and Mediation in Sound Art

2008-01-17T04:46:00.000-08:00

http://www.nmartproject.net/netex/?p=209

2/15/08

Sonic Fragments is a sound art festival and symposium exploring how these mediations effect meaning in our lives, and how artists are actively engaging narrative and mediation in their work. We are hoping for a diverse and interdisciplinary dialogue between scholars and artists, between theory and practice.

Sonic Fragments: Narrative and Mediation in Sound Art
Princeton University, Princeton, NJ
March 28-29, 2008

Call for work

We hear while we are in the womb, long before we see. For the rest of our lives, hearing essentially precedes the rest of the sensorium, as we move through a world of sonic fragments which affect us phenomenally and emotionally but of which we are often unaware.

These fragments are mediated by our environment, our bodies, our individual and collective memories, and the technologies that pervade contemporary life: from books to radio to television to iPods. Through these mediations sounds give rise to stories, which though they might be as hazy as an aura, begin to narrate the world we move through as they themselves move through our bodies and minds.

Sonic Fragments is a sound art festival and symposium exploring how these mediations effect meaning in our lives, and how artists are actively engaging narrative and mediation in their work. We are hoping for a diverse and interdisciplinary dialogue between scholars and artists, between theory and practice.

Central to the festival will be the presentation of works written specifically for mobile mp3 players which engage the spaces, places, objects, and paths on or near the Princeton University campus. We are soliciting works of ten minutes or less. These works will be available on mp3 players at a kiosk throughout the festival, downloadable from the festival website, and may also be compiled onto a limited edition CD-R for later distribution.

Sound works may be created for any location on or near campus. We are hoping that people will engage Princeton’s weird nooks and crannies as well as its wonderful art collection, perhaps atop one of the many Neogothic towers, inside Henry Moore’s sculpture Oval with Points, or in front of Ellen Gallagher’s large-scale Blubber. We hope that each piece will exhibit a distinct relationship to its site. Existing works which are not site-specific will not be considered.

A few resources to help you find a site:

Most crucially, you must visit and just poke around.
New Jersey Transit (about 1 hr, 15 minutes from NYC)
http://www.njtransit.com

But to get a taste of what the campus is like…

Princeton University
http://www.princeton.edu

Wikipedia Entry on Princeton University
http://en.wikipedia.org/wiki/Princeton_University

Campus Scenes
http://www.princeton.edu/pr/pictures/#scenes

Flickr Photos of Princeton
http://flickr.com/search/?q=princeton

Orange Key Virtual Tour
https://www.princeton.edu/oktour/virtualtour/index.htm

Princeton University Art Museum
http://www.princetonartmuseum.org

Putnam Collection of Sculpture
https://www.princeton.edu/oktour/virtualtour/Hist10-OvalPoints

Princeton University: An Interactive Campus History
http://etcweb.princeton.edu/Campus

Please send an email containing the following to sonicfragments@gmail.com by February 15:

1. A short (200-word max) description of your project as it relates to the site
2. A short (100-word max) bio
3. The completed piece (10 minutes or under)
4. A photo or graphic which can be used as your ‘album art’ – we suggest a photo of the site.

Please use the sonicfragments@gmail.com address as it can accept large files.

Deadline: February 15, 2008

For more information, please contact Betsey Biggs at:

http://www.princeton.edu
sonicfragments@gmail.com

organized sound journal - sound art

2007-12-24T04:43:00.001-08:00

Organised Sound: An International Journal of Music and Technology

SUBMISSION DEADLINE: 15 July 2008

Call for submissions

Volume 14, Number 1
Issue thematic title: Sound Art
Date of Publication: April 2009
Publishers: Cambridge University Press

Issue co-ordinator: Jøran Rudi (joranru@notam.uio.no).

This issue of “Organised Sound” will focus on sound art, a genre of acoustic expression that has a long history in both music and the visual arts. Currently, sound art is becoming a highly dynamic focus for new cross-disciplinary activity. Partially this has to do with young composers' eagerness to search out for new forms of public performance as well as new arenas. This has also led to a new way of looking at the relationship work/audience/performer/ composer.

These conceptually new approaches to music and art can be traced to developments in technology and society in general. It is interesting to note the extent to which this interest has developed outside the established networks and hierarchies of, for example, electroacoustic music.

Themes of interest include:
- conceptually oriented investigations of sound as material
- site- and context-specific art
– the use of soundscape within sound artworks
- process-oriented rather than entity-oriented definition of artworks
- use of audio and music technology whilst departing from the approaches to listening and analysis that are predominant in traditional forms of electroacoustic music.
- new technological means allow artists to pursue new arenas
- convergence in tools -> dissolving lines of distinction

Some questions that are related to the challenges posed by sound art:
How do these changes affect the relationship between concept and craft; what are the implications in terms of critical listening and our ideas of emergent qualities?
What are the implications of the use of different artistic spaces?
Is this a new way of tying art again into society, and if so, which groups in society will benefit? In other words does this represent a renaissance of social art?
Or is this yet another village in society, possessing more or less transparent demarcation lines?
With regard to the established field of electroacoustics: how do we describe the changes in aesthetics?
How can sound art and process-music (for lack of a better term) benefit us in reassessing our field, aesthetically and functionally?

We invite submissions from composers, performers, artists and researchers working in the realm of digital media and sound. Submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

Deadline for submissions is 15 July 2008. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 14/3.

---

SUBMISSION DEADLINE: 15 July 2008

SUBMISSION FORMAT

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or from:

http://www.journals.cambridge.org/oso

Email submissions should be sent to (please see SUBMISSION FORMAT above): os@dmu.ac.uk

Hard copy of articles (only when requested) and other material (e.g., images, sound and audio-visual files, etc.) should be submitted to:

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

Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
ICMA Representative: Mary Simoni
International Editorial Board: Marc Battier, Laurant Bayle, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel

FDRC grants

2007-12-23T19:04:00.000-08:00

Summer - due 2/15 to Trudy
Fall - due 4/17 to Trudy
Spring - due 10/1 to Trudy

http://grad.towson.edu/ours/index.asp

ATMI Proposals

2007-12-23T08:32:00.001-08:00

Jan 21 2008
_____________________________________________

ASSOCIATION FOR TECHNOLOGY IN MUSIC INSTRUCTION (ATMI)
2008 CALL FOR PROGRAM PARTICIPATION
_____________________________________________

The ATMI 2008 Program Committee invites the submission of proposals for the 2008 Conference. The concurrent national conferences of ATMI and the College Music Society will be held in Atlanta, Georgia, September 25-28, 2008. Proposals dealing with any aspect of technology in music instruction and/or electronic performance are welcome. The Association is particularly interested in presentations that focus on

* Music technology curricular and programmatic interests
* Online music instruction: local, regional, national, and international
* Multimedia: integrating text, graphics, video, audio, etc.
* Creative pedagogies/technological tools: music learning, composition, etc.
* Performance incorporating music technology
* Uses of MIDI, digital audio, etc. in ensembles
* Research on the effectiveness of music technology
* Student-created projects involving music technology

_____________________________________________

AWARDS
ATMI will recognize outstanding presentations in two categories. Monetary awards will be given for the best conference-wide presentation ($100) and the best student presentation ($250). In order to qualify for the student award, the presenter must be enrolled as a student at the time of the conference.

Faculty members should encourage outstanding students to submit proposals. Additional information on these
awards may be found at the ATMI website .
_____________________________________________

PROPOSAL SUBMISSION DEADLINE
January 21, 2008. A complete Proposal Form is included at the end of this announcement. A downloadable
version is available at the ATMI website .
_____________________________________________

CONFERENCE SESSIONS
The conference will offer a variety of presentation formats, including papers, panels, demonstrations, training sessions/workshops, electronic poster sessions, and performances involving technology software/hardware.
In addition, the intended audience will be identified with regard to prior music technology experiences or comfort level (e.g., general, novice, intermediate, or advanced). Presenters are encouraged to reserve five minutes at the end of their time slots for brief question and answer periods.

Presenters are strongly encouraged to propose electronic poster sessions. This venue is particularly appropriate for graduate students engaged in relevant and timely research. These will follow the usual electronic poster session format.

A Conference Proceedings Index will be available, which will point to presenter's sites to provide centralized access to conference topics.

_____________________________________________

PRESENTATION TOPICS
Proposals dealing with any aspect of technology in music instruction and/or electronic performance are
welcome. The Association is particularly interested in presentations that focus on:
* Music technology curricular and programmatic interests
* Online music instruction: local, regional, national, and international
* Multimedia: integrating text, graphics, video, audio, etc.
* Creative pedagogies/technological tools: music learning, composition, etc.
* Performance incorporating music technology
* Uses of MIDI, digital audio, etc. in ensembles
* Research on the effectiveness of music technology
* Student-created projects involving music technology

The Association strongly encourages students to present their own projects, though a faculty ATMI member
may submit the official proposal.
_____________________________________________

PRESENTATION FORMATS
ELECTRONIC PERFORMANCE: The Association renews its efforts to present musical performances
featuring the use of MIDI, digital audio, or other media technologies. If relevant, the proposal should include
specific information regarding the ensemble and its relation to curricular goals. Encouraged are solo, chamber,
or ensemble performance proposals, demonstrations of unique electronic instruments, or performance-related compositional activities involving music technology. (If you know of performers, ensembles, or presenters that meet this description, please forward this message to the appropriate person!) NOTE: ATMI cannot provide funding/compensation for the travel or lodging of any performers. At least one person involved in the presentation (e.g., director, performer, composer) must be an ATMI member. Submitting a proposal indicates the intent to attend the conference and deliver the presentation.

PAPERS AND PANELS: Traditional academic papers and panels dealing with music technology in any manner are welcome.

DEMONSTRATIONS: Appropriate are demonstrations that focus on newly authored software from all aspects of the music curriculum. We also encourage demonstrations on existing software that are especially useful in instructional and creative purposes. Especially welcomed are applications that take an innovative approach to
music teaching and learning. Proposals should include a complete description of the software's design and its use in the teaching environment.

TRAINING SESSIONS/WORKSHOPS: People looking for practical ways to expand their skills often attend ATMI sessions. The Program Committee would like to serve this constituency by offering short training sessions tailored to attendees with novice and intermediate skill levels. Submissions in this category should focus on the presenter's level of experience and background. A one-hour limit will be placed on these workshops. Presenters will need to provide the appropriate software, preferably on CD-ROM. NOTE: We will have a lab of Apple computers, each with a MIDI controller, connected via a group education controller available for these sessions. Special consideration may be given to those who take advantage of this lab.

ELECTRONIC POSTER SESSION(S): The conference will host at least one computer-based poster session,
in which multiple presenters will concurrently show material in a large display area. Especially encouraged are
one-on-one or small-group presentations or demonstrations of research, interactive music lab software, work in progress, and examples of student work. Proposals should include a complete description of the material to be presented. If appropriate, graphic images or actual software samples may be included with a proposal
submission, but should be clearly described in the text of the proposal. NOTE: Poster session participants must supply all necessary presentation hardware and software.

NORMAL CONFERENCE EQUIPMENT: As in the past, the ATMI room will be equipped with a data projector and moderate sound system. At least one synthesizer and a MIDI Interface (USB) will be available.

All INTERNET-BASED PRESENTATIONS should be designed to run locally (i.e., without actual connection to the Internet) due to the unpredictability of conference facility telephone/network lines. If an actual connection is *essential* to your proposal, this must be indicated in the Specialized Equipment/Software portion of the proposal form.

Details regarding specific hardware configurations and installed software in the lab room will be available
immediately prior to the conference. However, you should be prepared to provide whatever non-standard
software and/or hardware is required for your presentation.

ATMI members who can supply (i.e., bring with them) any of the equipment listed here are highly encouraged
to contact the Program Chair. This will help to defer the significant cost of equipment rental.

Presenters are expected to supply their own laptop computers, which must be appropriately configured to
work with typical data projectors. Consult your local dealer if you are unsure about compatibility issues.
_____________________________________________

SUBMISSION GUIDELINES

ALL PROPOSALS MUST INCLUDE:

* Completed Proposal Form (included at the end of this e-mail)

IN ADDITION . . .

* PAPER, PRESENTATION, and DEMONSTRATION proposals must be submitted for blind review. Authors
must exclude references to individuals or institutions within the body of the proposal that might compromise
this process. Proposals for papers should include clear statements of background, methodology, content to
be covered, and conclusions. Demonstration proposals may be accompanied by a Training Session/
Workshop proposal. Prior to submission to the Program Committee, these proposals may be edited by the
Program Chair as needed to facilitate the blind review process.

* TRAINING SESSION/WORKSHOP proposals must be submitted for blind review. Authors must exclude
references to individuals or institutions within the body of the proposal that might compromise this process.
The presenter may also propose a Demonstration session to precede the Training Session/Workshop. Include
a detailed list of software, CPU requirements, and all other equipment required to present the session as
proposed. Prior to submission to the Program Committee, these proposals may be edited by the Program
Chair as needed to facilitate the blind review process.

* PANEL proposals must clearly describe the purpose of the presentation and should list the proposed
participants and their qualifications in relation to the presentation topic. Prior to submission to the Program
Committee, these proposals may be edited by the Program Chair as needed to facilitate the blind review
process.

* Electronic PERFORMANCE proposals should include the name of the primary contact person (performer or
director), a description of the proposed performance, an excerpt of a recent performance, a statement
describing the purpose/mission of the performance medium and its relationship to music education, and any
other relevant information. If ATMI is expected to provide any equipment other than that described above, a
detailed list must be submitted. It may not be possible for ATMI to supply additional equipment. Prior to
submission to the Program Committee, these proposals may be edited by the Program Chair as needed to
facilitate the blind review process.

_____________________________________________
The ATMI 2008 PROGRAM COMMITTEE

Jennifer Sterling Snodgrass, Chair (Appalachian State University)
Bruce Frazier (Western Carolina University)
Cynthia Gonzales (Texas State University-San Marcos), organizer for ATMI 2009
Gena Greher (University of Massachusetts, Lowell)
Dan Hosken (California State University, Northridge), organizer for ATMI 2007
Keith Mason (Belmont University)
Ken Smith (Western Michigan University)
Kim Walls (Auburn University)
_____________________________________

PROPOSAL SUBMISSION DEADLINE: January 21, 2008.
_____________________________________________

SUBMISSION FORMAT

All proposals should be e-mailed directly to and must include the words "ATMI
proposal" in the subject line. Multiple proposals by the same presenter should be sent in separate e-mail
messages.

Hard-copies will NOT be accepted unless materials absolutely cannot be submitted/read electronically.
Please check with the program chair before submitting any hard copies.

Electronic Performance excerpts should be sent as an mp3 (or other compressed format). Maximum total
size of excerpts should not exceed 3 MB. If electronic transmission proves unworkable, excerpts may be be
sent via snail mail. Please limit excerpts to 3 to 5 minutes.

Snail Mail address:
Jennifer Sterling Snodgrass
ATMI 2008 Program Chair/School of Music
Appalachian State University
Broyhill Music Center
Boone, NC 28608
_____________________________________________

NOTIFICATION
Proposal receipt will be acknowledged by return e-mail within three days.

NOTE: With the exception of individuals not listed in the program booklet (such as student/professional
performers or technical assistants), presenters must be fully paid members of ATMI at least one month prior
to the conference. All presenters whose names are included in the program book are expected to register for
the conference.
_____________________________________________
Complete and e-mail the form below within the body of the email in plain text to:

Include the words "ATMI proposal" in the subject line.
NOTE: Do *not* quote or include any of the preceding text!
_____________________________________________

PROPOSAL FORM -- Must be completed for *each* ATMI 2008 session proposal:

Background Information (Numbers 1-8 will not be forwarded to program committee)

1) Proposal Author(s) and Institutional Affiliation(s):

2) Biography of each participant, performer, or ensemble (150 word limit):

3) Brief biography (50 word limit!) that will be used for introduction at the conference:

4) All e-mail addresses that you regularly access: (If multiple presenters are to be included, please provide
email addresses for ALL presenters, listing the primary contact first)

Preferred:
Other(s):

5) All phone numbers at which you can be reached:

Office:
Home:
Other:

6) Mailing address (if necessary for official communication):

_____________________________________________
_____________________________________________

7) Due to *unavoidable* conflict I absolutely *cannot* present on the following date(s):

No Conflicts Exist
September 25
September 26
September 27
November 28

Explain unavoidable conflict:

8) List all other non-ATMI proposals that you are submitting for the Atlanta 2008 meeting:

9) Proposal Title:

10) Intended Audience (delete all but one):

General (little or no experience)
Novice (minimal experience)
Intermediate (uses many apps., doesn't write code)
Advanced (very experienced, may incl. programming)

11) Presentation Topic (delete all but one):

Music technology curricular and programmatic interests
Online music instruction
Multimedia
Creative pedagogies/technological tools
Performance incorporating music technology
Uses of MIDI, digital audio, etc. in ensembles
Research on the effectiveness of music technology
Student-created projects involving music technology
Other (please specify)

12) Internet Connected

Is Internet Connection Desired (delete one):
Yes
No

Is Internet Connection Required* (delete one):
Yes
No

*NOTE: All presenters are advised to prepare an offline version of the presentation in case of connection
failures during the conference.

13) Presentation Format (delete all but one):

ELECTRONIC POSTER SESSION

PAPER

DEMONSTRATION

TRAINING SESSION/WORKSHOP
Must be compatible with the Apple lab.

PANEL
Panel Participants and Institutional Affiliation:

ELECTRONIC PERFORMANCE (complete if appropriate/known):
Group Name:
Performers:
Instrumentation:
Repertoire:
Equipment I cannot provide:
Other:

OTHER (be specific):

14) Presentation Description (2000 word limit!) [Reminder: this item must be anonymized for blind review]:

15) Single-paragraph ABSTRACT suitable for inclusion in program (150 word limit) [Reminder: this item must
be anonymized for blind review]:

16) Requested Presentation Period (delete all but one):

30 minutes
45 minutes
60 minutes
Approximate duration for electronic performance: ______
Other (explain):

Please note: Attempts will be made to provide presenters with the time requested for their sessions, however,
due to the complexities of scheduling, presenters understand that they may be required to adjust for a shorter
or longer time slot as assigned.

17) Specialized Equipment/Software that I *cannot* provide:

None

Internet connection is *essential* to my presentation.

Other (be specific):

18) Other information that may be helpful to the Program Committee:

* INCOMPLETE PROPOSALS will *not* be reviewed.

* SUBMISSION DEADLINE: January 21, 2008.

* E-mail to
Include the words "ATMI Proposal" in the subject line.

BOPA grant?

2007-12-20T07:53:00.000-08:00

http://promotionandarts.org/index.cfm?page=grants&contentid=24

Grant for Organizations

Background & Purpose
Mayor Sheila Dixon and the City Council of Baltimore are committed to nurturing and supporting a vibrant, creative community that inspires individuals, celebrates our culture and showcases the arts.

In June 2007, the Mayor and City Council authorized an increase for underwriting the support of Baltimore's cultural community through the city budget.
The Creative Baltimore Fund will provide grants that will total over $1,000,000 to cultural organizations. The grant will support general operating expenses of the eligible organizations

Program Administration
The Baltimore Office of Promotion & The Arts (BOPA) will administer the Creative Baltimore Fund as a competitive grant program.
The fund will award up to 3% of the annual operating budget of eligible organizations.
Awards will be made based on track record of the organization, the quality of their public cultural programs, particularly those geared towards children/teens, the availability of other financial support for the organization, the organization’s service to the community and the organization’s ability to effectively manage its resources (financial, manpower, program, and administrative).

Funding Amounts
The Creative Baltimore Fund will provide up to 3% of an organization’s allowable operating cash budget.
Requests are based upon allowable operating expenses for the most recently completed fiscal year.
Not allowable as operating expenses are
Re-granting
Acquisition of capital assets
Allocations to cash reserves
Capital improvements
Depreciation
Deficits
Loan principal payments
Contributions to endowments
Scholarships awarded by the applicant organization for its
own activities

Not allowable as operating income are
Loans
Carryover
Transfer of funds earned in prior years
Revenue raised for capital or endowment funds
Funds intended for the purpose of re-granting

Time Line (TBD)
Applications available on line (www.promotionandarts.com) Tuesday, November 1, 2007
Applications due by 5:00 pm, Friday, January 4, 2008.
Jury review takes place February 1 - February 29, 2008.
Awards announced March 17, 2008. Payment of 80% of award made with receipt of completed contract.
Final reports due by July 31, 2008 and final 20% of award disbursed upon receipt of final report.

Eligibility
Non-profit cultural organization with 501(C)3 status headquartered in Baltimore City or providing at least 50% of its programs within the City.
Produces or presents cultural, visual, performing or literary arts programs or performances.
Member in good standing of the Greater Baltimore Cultural Alliance

Funding available for:
Operating Expenses - All awards will be competitive.

Financial Information
All applicants will be required to use the financial reporting forms available through the Maryland Cultural Data Project (CDP). The Maryland CDP is a standardized online system for collecting historical financial and organizational data for grant applications to participating funders. Contact help@MDCulturalData.org or call 1-866-9-MD-DATA for more information.

Staff Review
After the application is received, it will be reviewed by staff at BOPA for completeness and adherence to the guidelines set forth in this document. Applicants will be notified by e-mail whether their application is complete or if additional information or corrections are necessary.

Advisory Panel Review
When the application is complete, it is assigned to members of the appropriate Advisory Panel for review. Advisory Panels meet formally to evaluate the applications submitted within their disciplinary areas.

Notification
All applicants will be notified of the final decision in writing by March 17, 2008.

Payment
Grant agreement forms mailed out by March 31, 2008, and must be executed before grant funds are disbursed.

Required documentation
Applicants must submit the following:
Most current audited financial statement for the organization
Copy of 501(C)3 tax exemption determination letter
Copy of Maryland Certificate of Good Standing
List of current Board of Directors
List of paid staff (FT and PT)
Resumes of key artistic and management personnel (with salaries listed)
List of activities scheduled and completed in the past two years

General Application Information
Applications may be submitted electronically to: Shawn James at Sjames@promotionandarts.com, or mail completed application to:

Baltimore Office of Promotion & The Arts
7 East Redwood Street, Suite 500
Baltimore, MD 21202
Attn: Creative Baltimore Fund

ARS Electronica

2007-12-19T07:02:00.000-08:00

Hybrid, Digital Music, or Interactive categories

http://www.aec.at/en/prix/cat_overview.asp?nocache=338262

March 7, 2008 deadline

http://www.aec.at/en/prix/cat_digital_musics.asp

This music category of the Prix Ars Electronica is open to:

* Sound and New Media- (audio visual performance, sonic sculpture, intermedia / video / film soundtracks, installations, soundspace projects, radio works, net-music, generative musics, etc.)
* Electronica- as in Dub, Techno, Microsound, Ambient, Global, Minimal, HipHop, Jazz, Noise, Downtempo, Drum'n Bass, Mondo/Exotica, digital DJ-culture, Mash-ups, Music videos, Glitch, Plunderphonics etc.
* Computer compositions (algorithmic, acousmatic and experimental), analog and electro-acoustic methodologies, the use of voices and acoustic or amplified instruments are allowed as well, but the crucial criterium is the artistic and inventive use of digital tools to manifest a convincing realization.

The crucial criterion is the artistic and innovative use of digital tools to manifest a convincing realization.
Participants may be individuals, groups, institutions, companies, etc. Exclusively commercially oriented activities in the sense of product advertisement are excluded.
Each participant may enter only one work, which has been created, realized or significantly updated within the last two years.

*

DIGITAL MUSICS

Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, as well as sound installations. Regardless of the media or style utilized by the respective artist, utmost consideration is given to the entry’s musical qualities and sound artistry.

flüux:/terminalPlunderphonicsbanlieue du Vide

WHAT SHOULD YOU ENTER? SUBMISSION DETAILS JURY NICA WINNERS 1987 - 2007
WHAT SHOULD YOU ENTER?

This music category of the Prix Ars Electronica is open to:

* Sound and New Media- (audio visual performance, sonic sculpture, intermedia / video / film soundtracks, installations, soundspace projects, radio works, net-music, generative musics, etc.)
* Electronica- as in Dub, Techno, Microsound, Ambient, Global, Minimal, HipHop, Jazz, Noise, Downtempo, Drum'n Bass, Mondo/Exotica, digital DJ-culture, Mash-ups, Music videos, Glitch, Plunderphonics etc.
* Computer compositions (algorithmic, acousmatic and experimental), analog and electro-acoustic methodologies, the use of voices and acoustic or amplified instruments are allowed as well, but the crucial criterium is the artistic and inventive use of digital tools to manifest a convincing realization.

The crucial criterion is the artistic and innovative use of digital tools to manifest a convincing realization.
Participants may be individuals, groups, institutions, companies, etc. Exclusively commercially oriented activities in the sense of product advertisement are excluded.
Each participant may enter only one work, which has been created, realized or significantly updated within the last two years.
SUBMISSION DETAILS

All works must be submitted on audio CD, DAT, DVD Audio, DVD Video, including specification of the necessary codecs, plug-ins and formats (such as NTSC and PAL).
Enter projects such as sound installations, real-time performances, audio/visual environments, etc. as a video document (3-10 minutes). This documentation should describe not only the event itself but also the characteristics of the work's environment aside from the music, such as spatial and technical requirements for the realization of the piece.
Along with the work, please include a comprehensive description of the work as well as information about equipment, scores, set-ups, and any illustrations or sketches if possible.

Important:
In addition to the complete work, please include a 2-3 minute excerpt that effectively gives an introductory summation of the essential elements explored in the whole piece. This edited extract can serve as a compressed remix of different musical areas of the longer composition, or the participant can simply choose a continuous representative slice. This helps the jury to deal with large quantities of submissions in a focused judicial manner.
Award-winning works may be performed in conjunction with the 2008 Ars Electronica Festival. Entrants are therefore requested to provide precise information about the technical set-up of all required equipment as well as suggestions regarding any technicians, musicians or soloists necessary to implement the production plans submitted.
We ask you to use the online registration at prixars.aec.at to register and send the signed print-out of the online registration form along with your entry material by March 7, 2008 to:

Ars Electronica Linz GmbH
Hauptstraße 2
4040 Linz, Austria
Code: Prix
or per fax to +43.732.7272-674

Service Learning Article - Michigan Journal of Community Service Learning

2007-12-08T04:22:00.000-08:00

Do You Want to be Published for Your Service Learning Work?

Abstract DONE - Finish paper concentrating on multidisciplinary by March 31 2008

This is a call for abstracts for volume 15 (fall 08/ spring 09) of the Michigan Journal of Community Service Learning (MJCSL; www.umich.edu/~mjcsl/.

The MJCSL is the premiere international journal devoted to service-learning research, theory, pedagogy, and other matters relevant to curriculum-based (academic) service-learning in higher education. It is published at the University of Michigan Ginsberg Center.

To keep up with the expanding civic engagement field, beginning with volume 15 the MJCSL will expand its purview. In addition to research, theory, pedagogy, and other relevant issues to curriculum-based (academic) service-learning, the MJCSL now also will review articles focused on:

University-community partnerships
Engaged/public scholarship (faculty work which involves and benefits a community AND advances a faculty member’s scholarship or creative work)

Please submit by December 20th, 2008 an abstract or précis no longer than one-page that reflects the gist of your planned article submission. Abstract submissions that fit within the purview of the MJCSL and appear to satisfy MJCSL quality thresholds will be invited to submit a complete paper. The invitation will be sent via e-mail no later than January 15th. Complete articles will be due the last Monday in March (the 31st).

Additional submission guidelines may be found at the MJCSL webpage at www.umich.edu/~mjcsl/.

Contact info: daccardi@towson.edu; 410-704-3921.
-------
From Michigan Journal's page:

Since 1994, the Michigan Journal of Community Service Learning (MJCSL) has been the premiere national, peer-reviewed journal publishing articles written by faculty and service-learning educators on research, theory, pedagogy, and other issues related to academic (curriculum-based) service-learning in higher education.

To keep up with the expansion in the civic engagement field, beginning with volume 15 the MJCSL will expand its purview. We will now review articles focused on:

* University-community partnerships
* Engaged/public scholarship (work which involves and benefits a community
AND advances a faculty member�s scholarship or creative work)
* Academic (curriculum-based) service-learning

The MJCSL submission process remains the same: submit an abstract/precis by December 20th, the editor will invite submissions based on these abstracts by mid-January, and articles are due the last Monday in March for consideration in the next volume year.

Authors are welcome to contact the editor, Jeffrey Howard (jphoward@umich.edu

Champ Libre - Call

2007-12-05T04:32:00.000-08:00

http://www.champlibre.com/foret/uk/index.htm

INTRODUCTION

The MANIFESTATION INTERNATIONALE of Champ Libre is a biennale event. Its eighth edition will take place in September 2008. The Manifestation will develop a reflection on the theme of the FORET. The proposed theme is an invitation to the personal interpretation of creators.

Champ Libre, while creating a biennale entitled Manifestation Internationale, gave itself the double mandate to shed the knowledge of and to contribute to the development of media arts and architecture. Thus, Champ Libre increases the visibility of these fields in the public space. It is through a nomadic process that Champ Libre invests and diverts urban spaces already occupied by other uses. Every edition of this biennale event proposes a program composed of installations, within which cohabitate several modes of expression associated with new media arts and architecture. Champ Libre wants thus to sensitize the public to and develop a critical thought facing these disciplines. Often inaccessible places are invested during the events and a staging integrates the works presented to the architectural site as a whole. The Manifestation offers its artistic programming to a constantly renewed public, comprising the users of the invested site and takes advantage of social interactions that exist around these places.

The present call has for objective at once to constitute the programming of FORÊT/FOREST: 8th manifestation internationale of champ libre and to gather collaborators and partners that will allow the optimum realization of the event, and its success.

The projects in demand will have to spatially explore the perception of the invested site and invite the public to transform and manipulate this latter.

The partners in demand will have to enrich the programming while contributing to the optimal realization and to the critical positionning of each work, as well as to the optimal achievement of the goals of the event.

OBJECTIVES OF THE EVENT

Champ Libre is looking for installations allying art and architecture and occupying the public space, while using new media components, works that explore the architecture of the site occupied in its spatiality and transform the visual or sound perception of this latter.

Champ Libre is looking for interventions of art and of microarchitecture that occupy the contemporary public space and question it in terms of programming, that offer an appropriation of the site by the mutation of one of the aspects of the latter.
Champ Libre is looking for interventions of art and of architecture that transform the experience, the comprehension or the perception of the site of the event for the spectator, and that include the participation of the latter to the existence of a site and to a ritual that renders exceptional and makes this space evolve through time.

Form - http://www.champlibre.com/foret/uk/forest_form.pdf

March 1, 2008

Call for Multi-Channel Works - EuCue Feb 2008

2007-12-04T04:14:00.000-08:00

(Electroacoustiques universite Concordia university Electroacoustics)
http://music.concordia.ca/EuCuE/Concerts.html

invites composers to submit works for concerts 7 thru 13 of Series XXVI

February 6, 7, 8, 2008
at the Oscar Peterson Concert Hall
of Concordia University, Montreal, Canada

Featured composers include:
John Chowning, Karlheinz Stockhausen, Maurice Wright

and the concerts will present the Concordia Quodlibet 2007.

----------------------------------------------------------

Multi-channel works are invited for 4, 4.1, 5, 5.1 etc up to 12.2,
with the possibility of other configurations, and video presentation.

All concerts are webcast (except Stockhausen). Received pieces are
kept in the Concordia Archive, and with the Sonus.ca contract
http://www.sonus.ca/contracts/index.html are included in Sonus.ca,
possibly the world's largest ea 'jukebox'. http://www.sonus.ca/

Selected works are preceded by a spoken introduction providing such
things as historical or analytical information.

Prefered file format is 24/48kHz mono.

Channels should contain a descriptor identifying the speaker
location: (L, C, R, LF, RF, LS RS, LB, CB, RB etc)

STAGE LEFT STAGE RIGHT

LEFT CENTER RIGHT

LEFT-FRONT RIGHT-FRONT

LEFT-SIDE RIGHT-SIDE

LEFT BACK CENTER-BACK RIGHT BACK

If no LFE channel is provided, the playback software (Logic), will be
used to extract an LFE channel with an approximate 80Hz crossover.

Preferred deadline for receiving pieces, January 15, 2008

Kevin Austin / Mark Corwin
EuCuE Production team

kevin.austin "at" videotron.ca

Associate-Professor (Music) / (EuCuE) RF-302
Department of Music (Electroacoustic Studies)
Concordia University
7141, rue Sherbrooke o
Montreal, QC
CANADA H4B 1R6

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

Technical note:

Please normalize all channels to around -1 dB.

Please check for DC offsets that will shift levels and produce
anomalies in the subwoofer(s).

Please check for 'rogue' spikes that may compromise average RMS levels.

For further information or special consideration, please contact me off-list.

Zepplin 2008 - Soundworks

2007-11-28T15:34:00.000-08:00

http://www.nmartproject.net/netex/?p=154#more-154

ZEPPELIN 2008
DEAFNESSES

Once again, Orquestra del Caos, announces its new edition of Zeppelin, Sound Art Festival, calling for sound works about the multiple “deafnesses” of the contemporary world.

There are many kinds of deafness. This year’s Zeppelin Sound Art Festival will focus on those that are barely noticeable, slowly and steadily undermining our hearing. We like to listen to noise and work with it, but we are aware that some noises often inoculate in us a sort of “mental deafness.” We would like to listen with our whole bodies, and to do so, we invite you to reflect on and make sound pieces that pay attention to the excess of talk, images, and sounds that constantly floods our ears disguised as “information”; to that never ending and repetitive clatter that political slogans wish to imprint in our minds and behaviors; to those strange sounds produced by the concentration of power; to the way we are continiuously made to think of ourselves as “clients” and “consumers” instead of citizens… we want to pay attention to the noise that deprives us of our own sounds. We want to ask what can we ultimately really listen to? What are the mechanisms behind this great mental and social deafness we are suffering? We want to raise this questions through your works, regarding them as listening tools that counteract the kinds of deafness that inhabit our times.

This is an open invitation for all those persons interested in these matters to submit their sound works.

The pieces will be presented in an eight-speaker system on March 13th, 14th and 15th 2008 in Centre de Cultura Contemporània de Barcelona.

REQUIREMENTS

All the pieces will be accepted as long as they fit the following requirements:

1. All works must be ten (10) minutes long or less

2. The works must be in AIFF or WAV format at 44.1 Khz & 16bits

3. The following information should be attached:
3.1. A brief description about the piece
3.2. Artistic biography of the author
3.3. A signed document authorizing or unauthorizing explicitly the desire to publish the piece on the internet
3.4. A signed document authorizing the inclusion of the piece in the sound art archive Sonoscop.

4. All works and documentation must be sent in CD/DVD before February the 15th 2008, to:

caos/ZEPPELIN/convocatoria
Centre de Cultura Contemporánia de Barcelona
C/Montalegre, 5
Barcelona 08001
España

More info: caos@sonoscop.net
…………………………………….

Orquestra del Caos/ Sonoscop
CCCB - C. Montalegre, 5
08001 BCN
t: +34 93 306 41 28
f: +34 93 302 24 23
caos@sonoscop.net
www.sonoscop.net

ARTVantage grant

2007-11-28T04:47:00.000-08:00

ARTvantage Grant Program

Agency: Maryland State Arts Council
Deadline: January 10, 2008

The purpose of this grant is to provide opportunities for people to experience and participate in a wide range of art forms and activities, enable arts organizations and artists to expand and diversify their audiences, extend the arts to underserved population and emphasize the potential of the arts to help strengthen communities. This grant must be submitted in collaboration with another non-profit organization incorporated in Maryland. Grant awards range from $5,000 - $10,000.

In preparation for the January deadline, “ARTvantage” information workshops have been scheduled for the following two dates:

+ Thursday, November 8, 2007 (4:00 – 5:30 p.m.)
+ Tuesday, November 13, 2007 (4:00 – 5:30 p.m.)

Both information sessions will be held at the Maryland State Arts Council on 175 W. Ostend Street, Suite E, Baltimore, MD 21230. To register, please email your name, your organization and the date of the workshop to Doreen Harmon at msac@msac.org. A member of the OURS staff will be attending one of the workshops so that notes and handouts will be available upon request if you are unable to attend.
URL: http://www.msac.org

ITROW Faculty Mini-grant

2007-11-28T04:45:00.000-08:00

http://www.towson.edu/itrow/FacultyGrants.asp

New course development within the faculty’s department/discipline which will produce a course to be cross-listed (counted toward) the Women’s Studies major. Substantial restructuring/transformation of a current course with the goal of integrating women/gender topics throughout the syllabus will also be considered. Faculty receiving course development awards will consult with the Director of ITROW in the development or restructuring of a course and will be expected to offer the new or transformed course within a year of having received the grant.

Scholarship focused on women/gender issues, or scholarship which contains a significant women/gender component. Faculty receiving awards for scholarship will be required to present their research/artistic creation in ITROW’s Women and Gender Faculty Colloquy series. Travel funds for presentation of such scholarship at conferences will also be considered.

Campus-wide or departmental events focused on women/gender issues such as speakers, film series, and conferences.

Early Feb. for COFAC.

SFMIME 2008 - Electroacoustic call

2007-11-28T00:34:00.000-08:00

http://sfifem.csf.edu/SFIFEM_call.html

Submitted works are invited for the radio broadcasts on 'Other Voices, Other Sounds' KUNM 89.9 FM Albuquerque and via the web at kunm.org:

Recent (composed 2002 or later) works of stereo electroacoustic tape/recorded media music, preferably under 20 minutes in duration.

Note: tape/recorded media works are defined, for the purposes of this call for works, as pieces created in a studio environment, without live performers, using analog and/or digital synthesis/signal processing/mixing/editing systems as the primary creative medium. Recordings of live performances, MIDI transcriptions of instrumental pieces, etc. are not accepted.

Up to 3 works - Postmark by 1/1/08

Honors College Course Proposals

2007-11-26T04:41:00.000-08:00

http://www.towson.edu/applications/dailydigest/databases/news/20071120_035701PM_joschmid_31.asp

Do this!!!!!

Proposals due 1/4

These seminars will be one-semester courses (typically three units) and will be designed to enable students and faculty to examine areas that are not usually part of regular departmental offerings. Seminars in the Honors College should provide a robust and collegial discussion environment that is intellectually demanding. These seminars should support increasingly independent learning as well as application of disciplinary and interdisciplinary knowledge and methods to the larger academic, local, national, or global community.

The Honors College is especially interested in Lower level Honors seminars that allow for indepth study of fundamental issues, ideas, topics or problems. Emphasis for these seminars should be on developing and strengthening skills important to success in Honors and undergraduate education, including oral and written communication skills, reading skills, critical and creative thinking, civic engagement, etc. These seminars should satisfy a specific General Education requirement. The Honors College is also interested in reviewing proposals for Upper level Honors seminars that are designed to deepen knowledge about a particular intellectual issue and demonstrate the interconnectedness of academic disciplines. These seminars may incorporate moral or ethical thinking, problem-solving components, and independent writing projects as part of a culminating activity. These seminars should be designed to satisfy departmental requirements and will require approval from the home department.

Suggested honors components to coursework include the following:
􀂃 an emphasis on primary texts over secondary works
􀂃 a project that helps to broaden the disciplinary/interdisciplinary approach of the course
􀂃 student organized events outside the classroom that build on the course material and
enhance the educational experience for students in the class or other students on campus
􀂃 student participation in broader community or regional events related to course
􀂃 student research on pedagogical or research methods (suggesting or implementing some of these innovative approaches during the course of the semester)
􀂃 student taught sessions or portions of sessions more advanced disciplinary methods

This list is not comprehensive. To the contrary, the Honors Curriculum Committee welcomes other ideas and suggestions, as well as innovative approaches to pedagogy and course structure.

Honors College Fellowships - at TU

2007-11-26T04:40:00.001-08:00

http://www.towson.edu/applications/dailydigest/databases/news/20071120_040350PM_joschmid_32.asp

Apps due 12/14 for 1, 2, or 3 year fellowship