Sonic Fragments: Narrative and Mediation in Sound Art

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

Read more!

organized sound journal - sound art

Organised Sound: An International Journal of Music and Technology


SUBMISSION DEADLINE: 15 July 2008

Call for submissions

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

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


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

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

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

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

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

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


---

SUBMISSION DEADLINE: 15 July 2008

SUBMISSION FORMAT

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

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

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

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

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

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

Read more!

FDRC grants

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

http://grad.towson.edu/ours/index.asp
Read more!

ATMI Proposals

Jan 21 2008
_____________________________________________

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

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

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

_____________________________________________


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

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

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

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

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

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

_____________________________________________

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

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

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

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

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

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

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

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

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

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

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

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


SUBMISSION GUIDELINES

ALL PROPOSALS MUST INCLUDE:

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

IN ADDITION . . .

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

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

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

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

_____________________________________________
The ATMI 2008 PROGRAM COMMITTEE

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

PROPOSAL SUBMISSION DEADLINE: January 21, 2008.
_____________________________________________

SUBMISSION FORMAT

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

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

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

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

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

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

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






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

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

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


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




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



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

Preferred:
Other(s):


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

Office:
Home:
Other:


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

_____________________________________________
_____________________________________________


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

No Conflicts Exist
September 25
September 26
September 27
November 28


Explain unavoidable conflict:


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


9) Proposal Title:


10) Intended Audience (delete all but one):

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

11) Presentation Topic (delete all but one):

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

12) Internet Connected

Is Internet Connection Desired (delete one):
Yes
No

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

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

13) Presentation Format (delete all but one):

ELECTRONIC POSTER SESSION

PAPER

DEMONSTRATION

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

PANEL
Panel Participants and Institutional Affiliation:

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

OTHER (be specific):


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



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



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

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

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

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

None

Internet connection is *essential* to my presentation.

Other (be specific):



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


* INCOMPLETE PROPOSALS will *not* be reviewed.

* SUBMISSION DEADLINE: January 21, 2008.

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


Read more!

BOPA grant?

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

Grant for Organizations

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Read more!