AES Call for Papers - 127th Conv. - NYC

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)
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Expo Leeds - Submissions due 5/29

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
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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).
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SONOIMAGENES 2009 – CALL FOR WORKS - Apr 2009

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

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Oral History Call - Papers/Works

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.

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Creative Campus Grant

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
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