Integra 2008 Call

Integra 2008 Festival and Conference
"Solving the tensions between musicians and technology"
Birmingham Conservatoire, Birmingham, UK 5-7 June 2008
http://www.integralive.org/festival-2008

The organisers of Integra 2008 invite artistic directors, researchers,
composers and performers to participate in the Festival and
Conference. Integra 2008 is the closing event of "Integra - A European
Composition and Performance Environment for Sharing Live Music
Technologies", a 3-year EU-funded project led by Birmingham
Conservatoire in the UK.

We welcome presentations on the following topics:

* Issues in programming concerts with live electronic music.
* Using technology to engage and interact with new audiences.
* Developing new formats for presenting mixed media works.
* Designing interfaces for live electronic music.
* Creating interactive environments for performers.
* Integrating technology into the creative process.
* Modernising works that use obsolete technologies.
* Developing new models for transfer and storage of performance data.

Deadline for submissions: Friday 2nd May 2008.
Please see the website for submission information and registering
online.
http://www.integralive.org/festival-2008

Keynote speakers:

Thierry Coduys, Music technology entrepreneur (France).
Luca Francesconi, Composer, Professor of Composition at Malmö Academy
of Music and Director of the Music Section of the Venice Biennale
(Italy).

Events:

The programme of the conference includes six high profile concerts by
professional new music ensembles from across Europe: Ars Nova
(Sweden), Athelas Sinfonietta (Denmark), BCMG (UK), BIT20 Ensemble
(Norway) and Court-Circuit (France) presenting exciting premieres of
mixed media works commissioned by Integra and a selection of pieces
using obsolete technology transferred by Integra. BEAST, the
Birmingham ElectroAcoustic Sound Theatre, and capsule, local promoters
of experimental new music, will also take part in the Festival.

Convocatoria para la presentación de proyectos para el MediaLab CCEBA

CONVOCATORIA PARA LA PRESENTACIÓN DE PROYECTOS EN EL LABORATORIO DE PRODUCCIÓN . Coordinador: Emiliano Causa Asistente: Matías Romero Costas
MEDIALAB / FLORIDA 943
El MEDIALAB del CCEBA abre la convocatoria a artistas que quieran desarrollar proyectos que integren las nuevas tecnologías en sus trabajos artísticos. Preferentemente se seleccionarán propuestas de instalaciones, intervenciones, performances multimedia, o cualquier otro formato, que aborde problemáticas relacionadas con algunos de los siguientes temas: las Interfaces Tangibles, las Realidades Mixtas, la Inteligencia y/o Vida Artificial aplicadas al arte, los Sistemas Conectivos de participación colectiva (dentro y fuera de Internet), los conceptos de Emergencia y Complejidad en el arte. Se dará prioridad a aquellas propuestas que traten de forma novedosa la vinculación entre arte y tecnología, dentro del campo de la interactividad. Los temas recién sugeridos intentan ser una guía y no excluyen a aquellos proyectos que propongan otras temáticas y que por el enfoque co n que son tratadas sean considerados de valor por el comité de selección.
Los artistas que sean seleccionados, podrán hacer uso del MEDIALAB del CCEBA, recibir orientación y soporte técnico por parte de especialistas, un apoyo económico por su labor; asistir a los talleres dictados por artistas o especialistas nacionales e internacionales; y participar en reuniones de discusión de proyectos entre los artistas participantes y artistas invitados.

Destinatarios
Esta convocatoria está destinada a artistas argentinos (provenientes de distintas disciplinas del arte y la comunicación), que trabajen en las temáticas antes mencionadas; interesados en realizar proyectos que integren arte y nuevas tecnologías. El objetivo de este espacio es apoyar la producción de jóvenes artistas que ya exploran este campo y que requieren de asesoramiento para abordar las problemáticas presentes en su producción. Si bien al aspirante no se le exige que sepa resolver completamente su proyecto, es necesario que el mismo posea los conocimientos de base mínimos que le permitan comprender las guías dispensadas en el asesoramiento. En este sentido serán importantes los antecedentes en el uso de tecnologías que el artista pueda demostrar.

Inscripción
Cada proyecto deberá presentarse en forma impresa, siguiendo el formato de presentación del Laboratorio de Producción, en el plazo comprendido entre el 1 de febrero de 2008 y el 7 de abril de 2008 (inclusive).
Dicha presentación deberá entregarse en el CCEBA (Florida 943 - C1005AAS - Buenos Aires), de lunes a viernes de 11 a 17:30 hs.
Los aspirantes deberán presentar:
1) el proyecto de producción
2) ficha de inscripción firmada
3) (opcional) material adicional.
Los proyectos se deberán presentar en forma personal o por correo postal (el sello postal no deberá ser posterior a la fecha del último día de inscripción). Se podrá adjuntar todo tipo de información adicional que el aspirante crea conveniente en formato CD-ROM (para PC) o especificar direcciones en Internet donde la misma esté publicada.
Al momento de la selección se dará prioridad a los siguientes aspectos de la presentación:
1) la pertinencia y originalidad de la propuesta
2) la capacidad técnica del artista en función de los desafíos planteados por su proyecto (demostrada en la presentación de trabajos anteriores acordes a la propuesta)
3) antecedentes.
Podrán presentarse tanto artistas individuales, como colectivos, los cuales podrán presentar hasta 2 (dos) proyectos por artista o colectivo. Cada presentación de proyecto, deberá contar con su correspondiente ficha de inscripción, independientemente de que pertenezca a un artista o colectivo que participe en más de un proyecto.

Fechas y horarios
Entrega de Proyectos: 1 de febrero de 2008 al 7 de abril de 2008 (inclusive)
Comunicación de Resultados: 28 de abril de 2008
Desarrollo y seguimiento de los proyectos: los lunes de 15.00 a 18.00 hs. desde el 5 de mayo de 2008 hasta el 10 de noviembre de 2008 en el MEDIALAB del CCEBA.

Coordinación del Laboratorio
Coordinador: Emiliano Causa
Asistente: Matías Romero Costas

Formato de la presentación del proyecto
El proyecto deberá ser presentado en A4 en un texto que no supere las 2500 palabras y que contenga los siguientes puntos:
1. Título
2. Breve biografía del artista o colectivo
3. Descripción breve del proyecto
4. Fundamentación
5. Información técnica del proyecto
6. Imágenes que describan el proyecto
7. Cronograma de trabajo
8. Presupuesto del equipamiento y materiales necesarios

Condiciones Generales
La sola presentación de proyectos implica la aceptación de las condiciones aquí enunciadas. Las decisiones tomadas por el CCEBA, referentes a la selección de proyectos, así como a la planificación y organización del Laboratorio de Producción del MEDIALAB, son inapelables.
No se aceptarán proyectos que no cumplan con todos los requisitos especificados.
Los proyectos seleccionados dispondrán de un plazo de 6 meses para la realización y finalización de los mismos. Durante dicho plazo, se realizará un seguimiento y asesoramiento del trabajo, en el espacio del MEDIALAB.
A los proyectos seleccionados se los asistirá con un apoyo de $3000 (pesos tres mil por proyecto), el espacio de trabajo y equipamiento del MEDIALAB, y el asesoramiento necesario para la realización.
Los artistas deberán comprometerse a finalizar los trabajos, caso contrario deberán devolver el dinero otorgado. En el transcurso de este período, los proyectos pasarán por tres instancias de evaluación para determinar el avance de los mismos. La no aprobación de cualquiera de estas evaluaciones, implica la pérdida de los beneficios recién citados y la obligación de devolver el dinero otorgado.
Sólo se devolverán los proyectos no seleccionados. Estos deberán ser retirados en la sede del CCEBA dentro de los treinta (30) días posteriores a la fecha de comunicación de resultados. Transcurrido dicho plazo, no se aceptarán pedidos de devolución de proyectos. Los gastos de transporte, envíos y traslados de ida y de vuelta cualquier material estarán a cargo del/los aspirantes.


PARA DESCARGAR LA FICHA DE INSCRIPCIÓN EN FORMATO WORD, HAGA CLICK EN [MÁS INFORMACIÓN]
[ MAS INFORMACION ]

NEW DEADLINE ! European Sound Delta / call for entries

Sound Art - Call for projects & residencies - summer 2008
--> Deadline 21th of March 2008


EUROPEAN SOUND DELTA is a mobile project on the Danube & Rhine Rivers focusing on radio-art using sounds of European cities. Two teams will be travelling on both rivers this summer, recording sounds, producing live performances and radio broadcasts with local sound-artists. A final exhibition is scheduled in Strasbourg-F by the end of September 2008.

International sound artists are invited to apply with a project meant to be created on one of the trans-European floating labs.
>> keywords : radio, sound art, media art, field recordings

Main Objectives:
--> To give young people the experience of a professional mobile project
--> A documentary artistic research on cultural identities of European cities
--> Built a new european network in the field of sound art
--> Experiment ICT via innovative artistic practices

Participating countries:
--> Austria, Belgium, Bulgaria, Croatia, France, Germany, Hungary, Netherlands, Romania, Serbia & Slovakia

Associated curators:
Valérie Vivancos (www.vibrofiles.com) and Joachim Montessuis (www.autopoiese.org)

Participating artists & residents (list not closed) :
Aymeric De Tapol, Tonic Train, Dinahbird, Jopo Stereo, SIC: Hori Cosmin Samoïl, Ewen Chardronnet, Alejandra Perez Nunez, Julien Ottavi, Chris Watson, Vincent Epplay, Alejandra & Aeron, Robert Hampson, Kassel Jaeger, AGF, Jörg Piringer, Yannick Dauby, Christian Zanesi, Phil Niblock, Charlemagne Palestine, Jean-Philippe Roux, Gaël Segalen, Philip Griffiths, Joachim Montessuis

Full project Description & Application Form : www.sound-delta.eu

Call for entries: Electrohype 2008

Call for entries: Electrohype 2008
the fifth biennial for computer based and technological art
Malmö Konsthall – Nov 2008 – Jan 2009

[F] La date limite pour les soumissions à ce concours annuel est le 1er mai, 2008. Pour plus d'informations à propos des soumissions et votre éligibilité, voir les liens suivants.

NB : Depuis 2008, il n'y a plus de durée maximum pour les pièces soumises.

--

[E] The deadline for submission to the annual JTTP competition is May 1, 2008. More information on how to submit your work and eligibility is found at the following web addresses.
NB: As of the 2008 edition there is no longer a maximum duration for submissions.



Electrohype 2008 will be the fifth biennial for computer-based art in Sweden. Electrohype is pleased to announce this call for entries for the exhibition that will be a follow up to the previous large Electrohype exhibitions in 2000, 2002, 2004 and 2006.

The exhibition will for the second time take place at Malmö Konsthall (also 2004). The duration of the biennial will be from mid November 2008 to beginning of January 2009. Malmö Konsthall was opened in 1975 and is one Europe’s largest and most flexible exhibition halls for contemporary art. The annual number of visitors are approximately 200 000.

The exhibition will present works by 5 – 8 artists or artist groups. To give the exhibition a broad perspective we are looking for Nordic as well as international artists.

Important dates
Deadline for this call for entries April 18th 2008
Exhibition opening mid November 2008
Exhibition closing beginning of January 2009
Exact date will soon be announced.

Please feel free to re-distribute this call.

What kind of art are we looking for?
Electrohype has since the start in 1999 focused on what we choose to call computer based art. Art that runs of computers and utilizes the capacity of the computer to mix various media, allow interaction with the audience, or machines interacting with each others etc. in other words art that can not be transferred to “traditional” linear media. This might seem as a narrow approach but we have discovered that it gives us a better focus on a genre that in no way is narrow.

We are not looking for “straight” video art (even if it is edited on a computer) or still images rendered on computers and other material that refers to more “traditional” media forms. Forms were the traditional tools have been replaced with computers and software.

Curators for the biennial are Anna Kindvall and Lars Gustav Midbøe.


Practical
You can submit with our online form or download the application form as PDF-file. You have to use one of these two forms to submit to our call.
This can be found on this address: www.electrohype.org/2008/call

NOTE: Please do NOT send documentation material as attachments via e-mail. Put your material online and send us the download URL or ftp address, or send us a CD or similar in the mail. Do NOT send 8 pages CVs and only complement with enclosures if it is necessary.
Please read the form and follow the guidelines. We receive a large amount of proposals and all of them are reviewed closely. To be able to do this we ask you to follow the structure in the application form and the topics mentioned above.


Financial
Due to a limited budget we will encourage everyone submitting material to look for possibilities for local funding to help cover costs for transport, travel and rent of technical equipment. This is not a requirement but a request; external funding can help us during the financial planning. The quality of the artwork will always be the determining element.

Electrohype covers all expenses, within reasonable limits, and also pays an artist honorarium to participating artists. Electrohype does not support development and production of unfinished artworks.

In previous exhibitions we have managed to keep a high level both in artistic content and exhibition design, even on a modest budget. It is therefore very important for us to avoid unpleasant surprises, so please keep this in mind when filling out the various posts in the form, especially when it comes to technical requirements, transport weight etc.
We are looking forward to see new and interesting works of art.


Please feel free to contact us if you have any questions or need additional information

Best regards from the Electrohype team,
Anna Kindvall and Lars Gustav Midboe




www.electrohype.org

Call for Works: Canadian 60x60

** DEADLINE 31 MARS 2008**

Call for Works for the first Canadian 60x60 Project (2008)

Vox Novus, in collaboration with the Canadian Electroacoustic
Community (CEC), is inviting composers to submit recorded works 60
seconds or less in duration to be included in the first Canadian
version of the annual 60x60 project. 60 compositions will be
selected to be played continuously in a one-hour concert. The
Canadian 60x60 concert season will begin with a debut in Montréal and
continue throughout Canada in venues to be announced. Concerts may
also include a visual component (a clock, video clips, spectrographs,
dance, etc.). The works will also be broadcasted on radio stations
and featured on a Sonus.ca dedicated gallery. Please submit your
recorded work(s) and submission form(s) before 31 March
(postmarked). You may submit your works online or on a CDR; see
submission guidelines below. Your work may be selected for both the
Canadian and the International 60x60 projects.

More info here

PREMIO LEONOR HIRSCH : electroacústica + vídeo digital

El Premio “Leonor Hirsch” tiene por objeto promover en el mundo la creación artística de vanguardia utilizando música e imagen.

El Premio será otorgado a la mejor obra mixta, compuesta de una parte musical electroacústica (live electronics o soporte fijo) y una componente visual basada en video digital.

http://www.fundacionbyb.org/

bases aquí

'Sex, Drugs and Rock 'n Roll' was never meant to be like this" - Sergio Luque

Sergio Luque (Mexico City, 1976) is a composer of experimental classical and electroacoustic music living in Madrid. His work often involves surrealism, computer-aided stochastic composition and tends to highlight the extreme "micro" and "macro" of musical sound.

He is currently working towards a PhD in Composition at the University of Birmingham, is an active member of BEAST (Birmingham Electroacoustic Sound Theatre) and is working on the development of Iannis Xenakis stochastic synthesis.

His extensive curriculum includes a Master's Degree in Sonology (with distinction), received in 2006 from the Royal Conservatory at The Hague, studying with Paul Berg and Kees Tazelaar. In 2004, he also received a Master's Degree in Composition from the Conservatory of Rotterdam, studying with Klaas de Vries and René Uijlenhoet. He has a Bachelor's Degree in Composition from the Musical Studies and Research Center (CIEM, Mexico). His music has been performed all over the world: Europe, North America, South America and Oceania.

Sergio Luque has published more than twenty musical pieces for acoustical instruments, computers and combinations of both.

TecnoNucleo publishes three works from Luque, all of them for computer: "'Sex, Drugs and Rock 'n Roll' was never meant to be like this", "frío" and "ssst".

The sounds of "'Sex, Drugs and Rock 'n Roll' was never meant to be like this", were created using an extension of Iannis Xenakis' dynamic stochastic synthesis technique that Luque is currently developing. Stochastic sytnthesis is an approach to microsound synthesis that uses probability distributions to manipulate individual digital samples.

The structure of this piece is articulated by juxtaposing three different families of sounds (in order to create sections). These clear and abrupt cuts between materials were done intuitively; some of them happen between similar sounds: to give the false impression of movement; the rest of the cuts occur between very contrasting sounds: unexpected changes that try to affect the listener's perception of reality.

"frío" (the Spanish word for "cold") was composed using stochastic processes and is a musical expression of the polysemic meaning of this word: low-temperature bodies, indifference, the chilling effects of cold colors, among other meanings. Phil Thomson, from the now defunct Centibel netlabel, defined this work as "a synthetic meditation on timbre and stasis".

"ssst" was created by the opposition of two principles applied to the sense of energy and activity, these principles are: retaining and releasing. When retaining, the character of the piece is quiet and with individual gestures; when releasing, the energy is freed and mass movements arise. Thomson said about this piece: "a digital clamour, conjuring images of a virtual ensemble performing in an slowly exploding concert hall haunted by microsonic ghosts".