T E C N O N U C L E O

FIRST INTERNATIONAL MASTER OF MEDIA.ART.HISTORIES

2008-07-28T01:08:00.002-07:00

(Low residency; English language, open for applications now)

The postgraduate program MediaArtHistories at the Department for Image
Science offers a two-year low residency leading to an M.A. degree. It
conveys the most important developments of contemporary art through a
network of renowned international theorists, artists, curators and many
others.

Artists and programmers give new insights into the latest and most
controversial software, interface developments and their
interdisciplinary and intercultural praxis. Keywords are: Strategies of
Interaction & Interface Design, Social Software, Immersion & Emotion and
Artistic Invention. Using online databases and other aids, knowledge of
computer animation, net art, interactive, telematic and genetic art as
well as the most recent reflections on nano art, CAVE installations,
augmented reality and wearables are introduced. Historical derivations
that go far back into art and media history are tied in intriguing ways
to digital art. Important approaches and methods from Image Science,
Media Archaeology and the History of Science & Technology will be
discussed.

MediaArtHistories MA is based on the international praxis and expertise
in Curation, Collecting, Preserving and Archiving and Researching in the
Media Arts. What are the conditions necessary for a wider consideration
of media art works and of new media in these collections of the
international contemporary art scene? And in which way can new Databases
and other scientific tools of structuring and visualizing data provide
new contexts and enhance our understanding of semantics?

Further Information:
www.donau-uni.ac.at/dis
www.donau-uni.ac.at/mediaarthistories
www.virtualart.at
www.mediaarthistory.org/pub/mediaarthistories.html
www.donau-uni.ac.at/telelectures

Garden of Delight

2008-07-28T01:08:00.001-07:00

2008 Yeosu International Art Festival (South Korea)

30 August - 20 September 2008

is looking for soundart works from artists from all over the world.

The complete call and entry rules can be found on

http://www.nmartproject.net/netex/?p=337

Call for Entries transmediale 2009

2008-07-28T01:07:00.002-07:00

transmediale.09 - DEEP NORTH
festival for art and digital culture berlin
27 January - 1 February 2009

club transmediale.09 - STRUCTURES
festival for adventurous music and related visual arts
23 - 31 January 2009

_Call for Entries_

:: Deadline: 5 September 2008
:: Award Ceremony: 31 January 2009

Find the complete call and submission form for download at:
http://transmediale.de/09/pdf/tmctm09_call_for_entries

*transmediale.09 - DEEP NORTH & club transmediale.09 - STRUCTURES*

As leading international festivals for art and digital culture as well as
adventurous music and related visual arts, respectively, transmediale and club
transmediale are calling for submissions to the transmediale Award competition
and the Vilem Flusser Theory Award.

*transmediale* presents and pursues the advancement of artistic positions
reflecting on the socio-cultural, political and economic impact of new
technologies. It seeks out artistic practices that not only respond to
scientific or technical developments, but that try to shape the way in which we
think about and experience the technologies which impact virtually all aspects
of our daily lives. As such, transmediale understands media technologies as
cultural techniques that need to be embraced in order to comprehend, critique,
and shape global societies.

*club transmediale* (CTM) is a prominent international festival dedicated to
contemporary electronic, digital and experimental music, as well as the diverse
range of artistic activities in the context of sound and club culture. CTM
presents projects that experiment with new aesthetic parameters and new forms
of cooperation, develop possibilities for informational and economic
self-determination, and reflect on the role of contemporary music against the
backdrop of technological and social transformations.

For the 2009 edition, the festivals have each set a specific thematic focus.

transmediale.09 - *DEEP NORTH* peers beyond the evolving alarmist scenarios of
catastrophe prevalent in the often contradictory global warming debate.
transmediale.09 shifts this focus to the global artistic, cultural, societal
and philosophical consequences that the presumed imminent collapse of the polar
ice barrier may trigger. Are we about to reach another historically succinct
moment of unavoidable and cataclysmic change - a point of no return leaving in
its wake uncontrollable global transformations? Does climate change elicit
cultural change, a shifting of extremes or a collapse in established, systemic
and network norms? *DEEP NORTH* becomes not a fixed location, but a paradigm
transforming loss, scarcity, inertia and rivalry into urgent and revealing
states of being and expression.

With *STRUCTURES* - Backing-Up Independent Audio-Visual Cultures, club
transmediale.09 presents projects that spring from the critical,
interdisciplinary and experimental practice at the intersections of sound and
other art forms. In recent years, a new breed of hybrid projects and
initiatives that merges experimental audio and media cultures has developed in
the convergence-zone between pop culture, science, arts and media technologies.
This still remains primarily the domain of committed individuals and small,
self-organised groups or networks that, often in the most precarious of
circumstances, provide the supporting platform for these new artistic
articulations and experiments. In its 10th year, CTM looks into the current
state and potential development opportunities of these independent structures.

Together, transmediale and club transmediale invite the submission of works and
projects that respond to these challenges and embody contemporary notions of
art that embrace, question and enrich digital culture. Submissions of art works
for both festivals participate in the *transmediale Award* 2009 while
theoretical abstracts, papers and critical artistic positions are invited for
the *Vilem Flusser Theory Award* with prizes totaling ca. 10.000 EURO.

transmediale is a project of Kulturprojekte Berlin in cooperation with Haus der
Kulturen der Welt :: club transmediale (CTM) is a project of DISK - Sound &
Image Initiative e.V. :: transmediale is funded by the German Federal Cultural
Foundation :: CTM is funded by the Hauptstadtkulturfonds.

C I M A T I C S\ 08AV \F E S T I V A L

2008-07-28T01:07:00.001-07:00

CALL FOR SUBMISSIONS. DEADLINE: JULY 31.2008

The call for submissions is now open!

Cimatics - Brussels International Festival for Live Audiovisual Art & VJing - invites all artists, creatives and producers to send their submissions for the next Cimatics festival.

Cimatics\08AV\Festival takes place from 13th - 15th November 2008 at various locations in the centre of Brussels.

The 6th festival edition will again bring an extensive overview of what's currently taking place at the crossroads of media, art, music and technology. Extra attention will be paid to the central theme 'Data Visualization'.

Deadline for submissions: July 31st 2008.

To submit your project go to Call for Submissions

For further information, contact us at info@cimaticsfestival.com

call for works, FrammentAzioni

2008-07-28T01:06:00.001-07:00

You can find below the call for works for "FrammentAzioni", the contemporary music project dedicated to composers coming from all over the world.

Entry is free.

The deadline is on August 31th 2008.

With the intent to promote contemporary music, TEM - Taukay Edizioni Musicali inviting composers to submit recorded works 60 seconds or less in length (works may be less than 60 seconds in length, but may not exceed 60 seconds).
The most interesting compositions (50/60 works) will be selected to be played continuously in a concert during the "Contemporanea" festival in October in Udine (Italy) and broadcasted from Taukay Web radio, the first Italian web radio station entirely dedicated to contemporary music. (http://radio.taukay.it)
Over the sequence the dance company "Arearea" will present an expressly dedicated choreography.

The recorded work can be any sound created which can be recorded on CD / DAT / data CD. Live performers are not allowed. The recording can include acoustic instruments, samples, voice, every kind of sound synthesis.
Scores of works are allowed but not required.
It is possible participate with more than one composition.

The call is open to composers of any nationality and of any age.
Previously performed compositions will be accepted.
Works will not be returned.

The following documentation is also required:
- name, surname, address, telephone number, e-mail address, date and place of birth, citizenship.
- composer biography.
- title of the composition.
- a statement agreeing to permit the performance of the composition to be broadcast or telecast and archived without compensation.
- a statement agreeing to the treatment of personal information in accordance with Italian privacy laws.

Printable application form to participate is available from the web site:
http://www.taukay.it

Please submit your work and submission no later than August 31th 2008 to:

Taukay Edizioni Musicali
via del Torre 57/5
33047 Remanzacco (Udine) Italy

The postmark will be deemed to be the date of submission.

You can send your composition as MP3 file to the following address: taukay.webradio@gmail.com
If selected we'll ask you the CD audio of your work.

Selected works will be announced on September 30 th, 2008.

For further information please visit Edizioni Musicali Taukay's web site: http://www.taukay.it
Or contact us by e-mail at: info@taukay.it

Taukay Edizioni Musicali
via del Torre 57/5
33047 Remanzacco UDINE
ITALIA
tel. +39 0432 649244
fax +39 0432 649575
http://www.taukay.it
http://radio.taukay.it

[phonography] call for phonographers in europe

2008-07-28T01:05:00.002-07:00

after discussions with others list members and
agreements for a webspace to archive the results,
i am ready to make a preliminary call and proposal
for a direct phonographic action on the guillemins tgv
station in liege, belgium.

background on the site can be read at the heading
"Architecture & Silence"

http://www.futurevessel.com/orphansound/category/feed/

the action(s) consist in recordists arriving at the
station to do their thing. discussion of an exact
timing of the recordings are still open to
individuals' input. the idea is to keep all recordings
an equal length and then to archive them so that at
the site of the archive the listener is able to mix
these together simultaneously or listen discreetly.
although each recordist can add their name on the
project as contributor, each individual phonography
should not be tagged on the site. the objective here
is to take a spectral phonographic reading of the
site: different time periods, different people,
different gear. all approaches should be included
except those not adhering to the agreed upon duration
or which are clearly not phonographies dedicated to
capturing some aspect of this particular site.

the long term scope of the project will eventually
involve sound installations at various points in the
city itself. but this call for phonographers is the
first stage. the objective, at this poiny, is to
deconstruct the objective, unitary, formalist and
visual aspect of the station into aural experiences.
we could call this process a preliminary
devisualization or decomposition.

the first step is to hear the station from multiple
perspectives. the website will renewably re-integrate
these perspectives offering different resultants to
different ears that cannot get to the site themselves
but also construct data resources for ongoing
analysis.

what i call a renewable spectral mix of the
recordings---one that can be experienced not only as
individual time-lined phonographies discreetly is
intended as macrostructure with a view to a historical
and pluralistic particulars.

i offer this partly as my own engagement with my new
living environment but also as a new way to engage
others working in the phonography field, moving in the
direction of a different kind of focused
participational phonography and to build a situation
where reflection upon the results for one site can be
ongoing. the practical apsect of this is related to
the fact that the TGV station is projected as visual
spectacle and this visuality will lead to the
destruction of the surrounding neighborhoods. there is
time however to offer an aural disposition, a
phonographic intervention on the issue before that
happens.

we are seeking support for various levels of the
action but of course the most important is that
phonographers put their own aural prostheses to the
rails as it were.

let me know what you think of all of this.
and if you can, reply to me via

trans.abelard@gmail.com

if you'd like a quicker response from me.

regards,

jeff gburek

j.ff gbk

http://www.futurevessel.com/orphansound

http://www.idiosyncratics.net/netlabel.html

http://www.con-v.org/online.html

http://www.djalma.com

http://www.mattin.org/desetxea.html

[phonography] Call for Submissions: Soundscape Radio, Vancouver Co-op Radio, CFRO 102.7 FM

2008-07-28T01:05:00.001-07:00

The Soundscape show on CFRO 102.7 FM, Vancouver Co-operative Radio
(broadcasting online at

http://www.coopradio.org/)

is calling for submissions of experimental sound art suitable for radio, as well as
field recordings and other sound materials suitable for use by the
show programmers for use in live on-air sound collages and mixes. We
especially encourage submissions of completed pieces from Canadian
artists.

Soundscape is a one-hour radio show on CFRO devoted to experimental
sound and radio art, phonography, soundscape composition, and other
related genres. Show formats vary from free-form radio collages to
more conventionally programmed shows featuring individual pieces with
spoken introductions.

Submissions may be in the following formats: CD or links to sound
files online. Submissions may be of any length up to an hour (though
due to Canadian content requirements, only Canadian submissions may be
a full hour in length). PLEASE NOTE: Submitters should indicate (1) if
the submitted work is by a Canadian artist and (2) whether they are
submitting completed pieces or raw material for live manipulation by
the show programmers.

Keep in mind the technical limitations of FM radio. Submissions
featuring large amounts of static, noise, or distortion; silence or
extremes of loud and soft; and extreme high and low frequencies are
unlikely to be broadcast.

Reply off-list for the snail-mail address to which submissions should
be sent. The programmers of Soundscape are looking (and listening)
forward to you submissions.

Convocatoria: IV JORNADAS ARGENTINAS DE MUSICA CONTEMPORANEA 2008

2008-07-28T00:52:00.000-07:00

CORAT arte para todos;
Subsecretaría de Extensión de la Universidad Nacional de Córdoba.

Se invita a los compositores de música instrumental, electroacústica o mixta, como así también a personas dedicadas al estudio de la música, y particularmente a especialistas en didáctica musical, a presentar obras musicales y/o trabajos de investigación en las IV Jornadas Argentinas de Música Contemporánea que se realizarán en la Ciudad de Córdoba, Argentina, los días 20 y 21de octubre de 2008.

En lo que se refiere a la INVESTIGACION, se aceptarán trabajos de cualquier disciplina, siempre que tengan un carácter científico, es decir, que estén orientados hacia la búsqueda de una explicación objetiva del fenómeno musical. Las propuestas deberán ser claras con respecto los objetivos que se proponen y los métodos aplicados. Se especificarán también los resultados obtenidos y las perspectivas de su futuro desarrollo. Las ponencias tendrán una duración de 20 minutos. Estos trabajos teóricos, de una extensión no mayor a 3000 palabras, deben estar precedidas por un resumen de 200 palabras y ser enviados por correo electrónico, como archivo adjunto y en formato word (fuente Arial 12) a la siguiente dirección de correo electrónico: grupocorat@yahoo.com.ar especificando Asunto: ponencia. Un comité científico evaluará las propuestas recibidas y cada autor será informado por correo electrónico en el caso de ser aceptado su trabajo. El material será publicado y presentado durante las Jornadas. Arancel destinado a la publicación de las ponencias: 90 pesos de Argentina o su equivalente en dólares.

Las OBRAS MUSICALES ELECTROACUSTICAS deben tener una duración máxima 8 minutos y deberán ser enviadas a la misma dirección de correo electrónico en formato mp3 o CD de audio (no wav) por correo postal a: Roberto Rue, San Martín 717, CP 5000 Córdoba, Argentina.(Recomendamos a los compositores argentinos, no utilizar CORREO ANDREANI para ese fin.)

Las OBRAS INSTRUMENTALES O MIXTAS (duración 8 minutos) deben enviarse solamente por correo común, con partitura impresa y grabación con los instrumentos acústicos o sonidos secuenciados a la misma dirección de correo postal. Los compositores deberán encargarse de los intérpretes o del pago a los mismos.

Un comité artístico seleccionará las obras y se informará a los compositores seleccionados, por correo electrónico
Tanto los trabajos teóricos como las obras musicales, incluyendo un breve curriculum, se recibirán hasta el día 31 de agosto de 2008. Los envíos que no respeten tiempo y forma no serán aceptados.
Para cualquier consulta dirigirse a la anterior dirección de correo electrónico o al Tel. 0351-4235137 desde Argentina y +543514235137 `DDI.

leer más

Call for Submissions: Soundscape Radio Show, Vancouver Co-op Radio, CFRO 102.7 FM

2008-04-17T22:04:00.000-07:00

The Soundscape show on CFRO 102.7 FM, Vancouver Co-operative Radio
(broadcasting online at http://www.coopradio.org/), is calling for
submissions of experimental sound art suitable for radio, as well as
field recordings and other sound materials suitable for use by the
show programmers for use in on-air sound collages and mixes. We
especially encourage submissions of completed pieces from Canadian
artists.

Soundscape is a one-hour radio show on CFRO devoted to experimental
sound and radio art, phonography, soundscape composition, and other
related genres. Show formats vary from free-form radio collages to
more conventionally programmed shows featuring individual pieces with
spoken introductions.

Submissions may be in the following formats: CD, minidisc (though this
format is not preferred), or links to sound files online. Submissions
may be of any length up to an hour (though due to Canadian content
requirements, only Canadian submissions may be a full hour in length).
Submitters should indicate whether they are submitting completed
pieces or raw material for live manipulation by the show programmers.

Keep in mind the technical limitations of FM radio. Submissions
featuring large amounts of static, noise, or distortion; silence or
extremes of loud and soft; and extreme high and low frequencies are
unlikely to be broadcast.

Reply off-list for the mailing address to which submissions should be
sent. The programmers of Soundscape are looking (and listening)
forward to you submissions.

Phil Thomson
http://philthomson.ca/

Sound Art Call for Recorded Works

2008-04-16T13:38:00.000-07:00

Calling all audio and recording artists to retell and reproduce the Chicago experience through place, time and culture in audio recordings. Abstract sound, field recordings, text based/spoken word, and radio pieces alike will be considered.

These works will be presented at the Jay Pritzker Pavilion
Aug. 11th, 2008 from 6PM -9PM
This is a free event for the public.

About The Jay Pritzker Pavilion:
Frank Gehry, winner of the National Medal of Art, applied his signature style to this revolutionary outdoor concert venue. The Pavilion stands 120-feet high, with a billowing headdress of brushed stainless steel ribbons that frame the stage opening and connect to an overhead trellis of crisscrossing steel pipes. The trellis supports the sound system, which spans the 4,000 fixed seats and the Great Lawn, which accommodates an additional 7,000 people.

This state-of-the-art sound system, the first of its kind in the country, was designed to mimic the acoustics of an indoor concert hall by distributing enhanced sound equally over both the fixed seats and the lawn.

Submission Guidelines:

This is an unpaid commission and offered as a free concert to the public.

Maximum Length: 10 minutes (no minimum length).

Recorded works submitted by mp3 through email or CD through regular post.

Open to all artists l(Chicago locals or international)

Up to 3 submissions per artist

No submission fee

Please include the following information:
Artist Name:
Location:
Category: Abstract, Field Recordings, Narrative/Text Based Works, other
100 word description of piece(s):

Deadline for submissions: June 15th, 2008

Email MP3 submissions and questions to:

margaretnoble2000@yahoo.com

Send hard-copy materials to:

Margaret Noble
High Tech High Media Arts
2230 Truxton Road
Third Floor
San Diego, CA
92106

MANTIS 2008 - Call for works

2008-04-11T23:08:00.000-07:00

MANTIS Festival 2008

Friday 31 October to Sunday 2 November 2008

2nd International Call for Electroacoustic Music
Compositions

NOVARS Research Centre for Electroacoustic
Composition, Performance and Sound Art

University of Manchester, UK

Submission Deadline: Monday 30, June 2008 [postmark]

MANTIS (Manchester Theatre in Sound) is seeking
electroacoustic works for performance in a single
concert that is part of the larger MANTIS festival
[Friday 31 October to Sunday 2 November 2008] at the
University of Manchester's Cosmo Rodewald Concert
Hall.

For this particular concert we are calling for fixed
media music and mixed instrumental and electroacoustic
works, with a maximum duration of 10 minutes.

Live and interactive works for a broad range of solo
instruments (including voice) or small ensembles with
electroacoustic elements, or electronics alone, will
be considered. Full and detailed technical
requirements must be included for these works (see
below). Student performers will be sought from The
University of Manchester's new music ensemble:
Vaganza.

Fixed media works may be stereo or multi-channel.

Only one work per composer will be considered. Work
must have been composed after 2003.

The MANTIS sound diffusion system consists of 40+
Genelec loudspeakers and a purpose-built
computer-based matrix and control surface at the Cosmo
Rodewald Concert Hall, Martin Harris Centre for Music
and Drama.

SUBMISSION GUIDELINES

All submissions must consist of the following:

1. Audio (or DATA ) CD/DVD of the work to be
considered (all audio files should be interleaved).

2. Programme notes (please include duration and year
of creation)

3. Composer biography (updated)

4. Contact information: email and telephone.

5. Technical specifications (including number of
channels, sample rate, bit-depth, multi-channel
loudspeaker mappings, and other technical requirements
as necessary)

6. All live and interactive submissions must
additionally include the following data:

Instrumental forces

Number of microphones required (and kind)

Number of channels output for diffusion system

Hardware required

Software and computer system requirement

Stage plan

Fold back requirement

All requested information must be provided in order
for the work to be considered.

DEADLINE

Only submissions received by (or postmarked) Monday
30, June 2008 will be considered for MANTIS 2008.
Selected composers will be notified by 31st of July at
the latest.

Works will be selected by a programming committee
comprised of postgraduate students and staff at the
NOVARS Research Centre.

Send hard-copy materials to:

MANTIS FESTIVAL – 2008

Novars Research Centre

Music - Martin Harris Centre

The University of Manchester

Coupland Street, Manchester

M13 9PL UNITED KINGDOM

FAQ

WHAT IF I WANT MY MATERIALS BACK?

Unless the contrary is specified, we will archive all
submitted works in our MANTIS catalogue (which will be
accessible to students and researchers within the
NOVARS centre at the University of Manchester). In
order to receive materials back please forward to us a
self-addressed envelope with sufficient postage
attached.

WHAT IF I CANNOT ATTEND THE CONCERT?

While we encourage composers selected for concert
performance to attend, it is not a requirement for
consideration in programming. We regret that we are
unable to provide funds to cover costs for transport
and/or accommodation.

For more information about MANTIS and NOVARS Research
Centre please visit:

http://www.novars.manchester.ac.uk/

TO WHOM SHOULD I ADDRESS MY QUESTIONS?

David Berezan - Mantis Festival Director

email: david.berezan@manchester.ac.uk

Ricardo Climent - MANTIS Festival coordinator

email: ricardo.climent@manchester.ac.uk

WHERE CAN I FIND MORE ABOUT THE UNIVERSITY OF
MANCHESTER AND THE CITY OF MANCHESTER (UK)?

University of Manchester: www.manchester.ac.uk/

City of Manchester: www.manchester.gov.uk/

Call for Works and Papers - Australasian Computer Music Conference 2008

2008-04-09T02:25:00.000-07:00

Please note the deadline for the ‘Call for Works and Papers’ for the upcoming Australasian Computer Music Conference 2008 has been extended to April 14.

Below is the Call:

Australasian Computer Music Conference 2008

www.acmc08.org

The Sydney Conservatorium of Music, University of Sydney, in association
with the Australasian Computer Music Association is pleased to be hosting
the sixteenth annual conference of the Australasian Computer Music
Association - ACMC 2008. The Conference will take place between Thursday 10
July and Saturday 12 July 2008 in Sydney, Australia.

Theme

This year's conference theme 'sound:space', aims to encourage discussion of
contemporary issues including:
* performance of electroacoustic music, live electronics, installations,
works that involve acoustic instruments, and sound diffusion ('live' space);
* music and the internet ('virtual' space);
* surround sound in recording, composition and performance ('acoustic'
space).

In his recent taxonomy of space in electroacoustic music, Bertrand Merlier
describes the notion of space as multiple realities depending on the context
involved. In his view, space can refer to physical phenomena, psychoacoustic
phenomena, musical ideas, artistic concepts, aesthetics, and sometimes, even
methods or tools of performance. As a result, space can take several
meanings depending on context. Here is a list of various descriptives to
refine the notion of space, as listed in 'Vocabulaire de l'Espace'
(published in 2006):

Space, absolute/relative space, acoustic space, ambiophonic space,
architectural space, polyphonic space, composed space, cross-space, listening
space, perceived space, external space, extrinsic/intrinsic space, geometric
space, illusion space, internal/external space, mental space, ornamental
space, landscape space, projection space, projected space, real space, sound
space, source space, virtual space, visible space, spacing and space figure.

The theme can be addressed through papers, compositions, installations and
performances which explore the sense of space in relation to sound and
technology. Proposals addressing the main theme are especially encouraged,
but may also address aesthetic, compositional, educational, musicological,
scientific, and technological aspects of computer music and digital audio.

For all details regarding the Call, go to:

http://www.acmc08.org/call.php

The Key Note speakers for ACMC08 are Professor Roger Dean and Professor
Robert Normandeau

http://www.acmc08.org/keynote.php

For further information on registering, the City of Sydney and accommodation
go to:

www.acmc08.org

The Organising Committee ACMC08

Integra 2008 Call

2008-03-31T22:25:00.000-07:00

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

2008-03-27T04:30:00.000-07:00

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

2008-03-18T07:25:00.001-07:00

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

2008-03-14T11:22:00.000-07:00

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

2008-03-14T11:17:00.000-07:00

** 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

2008-03-14T11:08:00.000-07:00

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

2008-03-14T11:02:00.000-07:00

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".

Iannis Xenakis - Musiques formelles (in french)

2008-02-22T13:05:00.000-08:00

free download from:

http://www.iannis-xenakis.org/fxe/ecrits/mus_form.html

XV Concurso de Obras de Creación Radiofónica CDMC-Radio Clásica 2008

2008-02-22T12:58:00.000-08:00

El CDMC y Radio Clásica (RNE) llevan a cabo una colaboración para alentar la producción de creaciones radiofónicas con objeto de promover este tipo de obras. En esta línea, se convoca un concurso de ideas con arreglo a las siguientes

Bases

Las obras serán necesariamente piezas de creación radiofónica, es decir, cuyo medio de realización y difusión idóneo sea la radio. Las obras no podrán haber sido premiadas ni emitidas con anterioridad.
Palabras, ruidos, música, montajes electrónicos o radiofónicos y otros elementos afines pueden ser la base de la obra.
El proyecto puede ser exclusivamente en lengua castellana o multilingüe, pero en este último caso el castellano deberá ser la principal lengua empleada. También se puede prescindir del empleo del lenguaje hablado o de la voz.
Para concursar no será posible enviar obras realizadas, sino simplemente proyectos que pueden consistir en una descripción escrita del mismo y de los elementos necesarios, una maqueta en cassette, CD o DAT, partituras o fragmentos de las mismas, materiales acústicos, etc. Se admitirá cualquier forma de presentación, siempre que asegure al jurado una precisa valoración del interés de la idea proyectada.
No existe límite de edad ni de nacionalidad.
Los envíos deberán realizarse con anterioridad al 18 de Abril de 2008 por cualquier medio contemplado en la Ley de Procedimiento Administrativo, por ejemplo mediante correo certificado (siendo la fecha del matasellos prueba del envío dentro de plazo) o entregándolos personalmente y deberán dirigirse a:
XV Concurso de Obras de Creación Radiofónica

Centro para la Difusión de la Música Contemporánea
c/ Santa Isabel 52, 5ª planta
28012 Madrid, España.
No hay limitación en cuanto al número de proyectos por autor.
Los proyectos deberán llegar en forma anónima con un lema que se reproducirá en sobre cerrado adjunto, donde se contenga fotocopia del DNI o pasaporte y datos personales del autor o autores. En caso de utilizar textos de otro autor deberá acreditarse el oportuno permiso del mismo.
Un Jurado nombrado por el CDMC y Radio Clásica decidirá sobre el proyecto que se considere más idóneo. Las decisiones del Jurado son inapelables.
El proyecto elegido será objeto de un encargo por parte del CDMC dotado con 6.000 euros brutos. Este encargo será considerado como premio del Concurso y es independiente del coste de producción de la obra, que será asumido por Radio Clásica.
Radio Clásica producirá la obra con los medios que la propia Radio determine. Para ello, y además de los medios humanos y técnicos de RNE, podrán utilizarse los del Laboratorio de Informática y Electrónica Musical del CDMC (LIEM-CDMC). La emisión radiofónica tendrá lugar en el último trimestre del año 2008, y se intentará que la obra sea estrenada en la edición de ese año en el Festival de Música de Alicante (septiembre de 2008). El desarrollo del proyecto deberá realizarse con tiempo suficiente para que pueda ser producido y emitido en esas fechas.
Por el hecho de participar, los concursantes aceptan estas bases y la decisión del Jurado.
Los proyectos no premiados estarán a disposición de sus autores, que podrán retirarlos personalmente en el CDMC, previa identificación del lema, en el plazo de tres meses a partir del fallo.
Pasado dicho plazo los proyectos no retirados serán destruidos para conservar el anonimato del concurso.

http://cdmc.mcu.es/es/

PREMIO LEONOR HIRSCH

2008-02-06T06:58:00.000-08:00

BASES
Leonor Hirsch (1915-1973) dedicó parte de su vida a la promoción de la música clásica y contemporánea. En el año 1947 fundó la Asociación Amigos de la Música, entidad que mas tarde contó con su propia orquesta sinfónica. Leonor Hirsch, profundamente interesada por las vanguardias musicales, encargaba anualmente una obra a un compositor argentino la cual era estrenada en un concierto público, como el caso de la Sinfonieta para Orquesta de Cámara que compuso Astor Piazzola en el año 1953. En su memoria, sus hijos Octavio Caraballo y Claudia Caraballo de Quentin han instituido este Premio.
1° - El Premio “Leonor Hirsch” (“el Premio”) 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 y una componente visual basada en video digital. Opcionalmente se podrán agregar instrumentos acústicos dentro del marco estipulado en estas bases.
2° - El Premio será indivisible y adjudicado por un Jurado internacional, que seleccionará entre las tres obras semifinalistas, la adjudicataria del premio. La decisión final del Jurado será anunciada en ocasión de un Concierto de Cierre del Concurso (“el Concierto”). Solamente el primer premio consistirá en la suma de U$S10.000 (Diez Mil Dólares) y la ejecución en concierto de la obra. En cuanto a las restantes obras seleccionadas recibirán menciones de honor y se ejecutarán en el Concierto público.
3° - El concurso se encuentra abierto a creadores vivos de todas las nacionalidades, sin límite de edad.
4° - Será admitida sólo una presentación por persona. La obra presentada deberá ser original y de autoría de los artistas que la presenten, y no debe haber sido estrenada, editada o difundida públicamente.
5° - Durante el desarrollo del presente concurso, y hasta el momento del estreno, la obra no podrá presentarse o inscribirse en otro concurso. Si así se hiciere su presentación al Premio será desestimada automáticamente.

6° - Características requeridas para las obras que concursan:

6.1 Live Electronics:
6.1.1 El procesamiento en vivo para el sonido queda limitado a los lenguajes Max-MSP y Pure Data (PD).
6.1.2 La sincronización entre la electrónica y la ejecución puede lograrse mediante la acción del intérprete (switches o pedales) o mediante la automatización del proceso. Solo se aceptará la posibilidad de que dicha sincronización sea externa en caso de que el compositor se encuentre presente como operador.
6.1.3 Se dispondrá de computadores (Apple Mac G5 o PC), microfonización de los intérpretes y un sistema de difusión multicanal de hasta 8 altoparlantes (la distribución de los mismos será fija, en forma de circular/perimetral).
6.1.4 Deberán adjuntarse todos los elementos necesarios para la realización de la obra (sonidos, patches, etc.) en DVD-R o CD-R.
6.2 Instrumentos Acústicos:
6.2.1 Opcionalmente la obra podrá incluir instrumentos acústicos dentro del siguiente conjunto: piano, cello y clarinete.
6.2.2 El uso de la electrónica será obligatorio, y el uso de uno, dos o tres de los instrumentos indicados será opcional.
6.2.3 En todas las circunstancias la obra compuesta deberá permitir su ejecución sin director. Para la ejecución de las obras finalistas en el concierto se proveerá la necesaria asistencia técnica.
6.3 Componente Visual:
6.3.1. La componente visual deberá consistir en proyección de video digital. Se aceptará un máximo de tres pantallas.
6.3.2. Los medios de sincronización de las imágenes deberán ser provistos en la presentación de la obra, y deberán ser controlados por el computador que procese los sonidos electrónicos. Cualquier otro modo de administración de las imágenes quedará a cargo y responsabilidad

de los autores, cuya presencia será requerida para la ejecución de la obra en el Concierto en caso de ser elegida finalista.
6.3.3 Los materiales de video deberán ser codificados en NTSC –
Región 0.
6.4 Extensión:
La duración de las obras estará limitada a un máximo de 20 minutos. El tiempo total podrá estar dividido en varios movimientos, y la duración total de la obra deberá estar indicada en los materiales de presentación.
7º - Materiales de Presentación: (podrán realizarse en idioma español e inglés)
7.1 Copias de la partitura general.(3)
7.2 1 juego de partes individuales (particelas).
7.3 A los efectos de la consideración de las obras por el Jurado, la componente visual se presentará por separado en 3 copias en DVD en codificación NTSC Región 0.
7.4 El material lógico (software, patches, sonidos, material de video, etc.) para la presentación de la obra.
7.5 Descripción escrita del sistema de proceso (concepción general; diagramas de conexión; interacción de software, hardware e intérpretes; lista de los recursos tecnológicos requeridos, etc.). Original + 3 copias.
7.6 El formulario de datos personales debidamente completado (Anexo 1).
7.7 Todos estos materiales deberán presentarse bajo un seudónimo, desprovisto de toda información que haga referencia al autor o autores de la obra, a los efectos de mantener el anonimato de las presentaciones hasta la decisión final del Jurado en el Concierto de cierre. A fin de facilitar la comunicación de los organizadores con los participantes, cada seudónimo deberá incluir una dirección electrónica de e-mail, que del mismo modo esté desprovista de toda información que haga referencia al autor o autores de la obra.

7.8 La participación en el concurso es libre y gratuita. Los autores que concursen sólo deberán costear los gastos de envío, en caso de no poder hacer la entrega personalmente.
7.9 Deberán incluirse 3 copias de una versión combinando audio/video digital de la obra en DVD NTSC Región 0. Se admitirán grabaciones de maquetas MIDI debidamente emuladas, no así MIDI-Data.
7.10 Todos los materiales de presentación de las obras al Concurso quedarán en propiedad de los organizadores. Sin embargo los participantes que no hayan resultado finalistas tendrán un plazo de 60 días para retirar el material de presentación en el domicilio de la Fundación, ya que ésta no se hará responsable del reenvío de los materiales.
8° - Derechos de autor y difusión pública de los ganadores:
8.1 Los derechos de propiedad quedarán en poder de los autores. Sin perjuicio de ello la Fundación se reserva por un período de 12 meses el derecho de ejecución pública de las obras finalistas, libre de cargos por derechos de autor. Las partituras y todo otro material necesario para la reproducción de las obras finalistas quedará en poder de la Fundación.
8.2 La Fundación Bunge y Born (en adelante “la Fundación”), administradora del Premio Leonor Hirsch, se reserva el derecho de difundir el nombre y/o imágenes de los ganadores por los medios y formas de comunicación que crea conveniente, por el término de un año y sin obligación de realizar compensación alguna. El nombre de los ganadores será publicado en gacetillas que se enviarán a la prensa, en la página web de la Fundación, y en cualquier otro medio que la Fundación considere oportuno.
9° - Llamado y Jurado:
9.1 El llamado a concurso estará abierto desde el día 22 de octubre de 2007 y las obras participantes deberán ser remitidas, hasta el 1° de julio de 2008 inclusive a: Fundación Bunge y Born, Premio Leonor Hirsch, 25 de Mayo 501 – 6to. Piso, C1002ABK - Ciudad Autónoma de Buenos Aires, República Argentina.
Toda entrega que se efectúe con posterioridad a las 17 hs. (huso horario de Bs. As.) de dicha fecha, será automáticamente descartada.

9.2 Una Comisión de Preselección (en adelante “la Comisión”) realizará una evaluación inicial de las obras presentadas. Esta Comisión, integrada por especialistas de alto nivel en música y en video digital, estará presidida por el eminente compositor Julio Martín Viera.
9.3 El Jurado del Premio Leonor Hirsch (en adelante “el Jurado”) que adjudicará el Premio, estará integrado por los siguientes compositores: el maestro Gerald Bennett, recientemente retirado como Director del Institute for Computer Music and Sound Technology, de la Universidad de Artes de Zurich; el maestro Francisco Kröpfl, fundador del primer centro institucional de música electrónica en Latinoamérica; y por Nina Colosi, curadora de artes visuales, Directora de The Project Room @ Chelsea Art Museum en Nueva York.
10° - Desarrollo del concurso:
10.1 La Fundación pondrá a disposición de la Comisión, para su correcta formación de criterio, el siguiente material de cada concursante: partitura general, material de video, descripción del proceso y materiales de ejemplo. En caso de ser necesario, los miembros de la Comisión tendrán acceso al material lógico de las obras.
10.2 La Comisión hará una primera selección de obras, las que serán enviadas, con los materiales correspondientes, a los miembros del Jurado, los que a su vez indicarán tres de esas obras como Finalistas del Premio.
10.3 Las obras Finalistas serán anunciadas por medio de publicación en Internet y comunicación electrónica a los participantes según lo previsto en el artículo 7.6. Esta publicación tendrá lugar el día 22 de septiembre del 2008.
10.4 La obra ganadora del Premio será anunciada el 22 de octubre del 2008.
10.5 El Jurado podrá declarar desierto el Premio si la calidad de las obras presentadas no resultase satisfactoria.
10.6 Las decisiones adoptadas por la Comisión y el Jurado serán definitivas e inapelables.

11° - Concierto Público Premio Leonor Hirsch:
11.1 A los efectos de contar con su presencia en el Concierto, según lo estipulado en el artículo 2, los organizadores del Premio harán entrega de pasajes desde su lugar de residencia hasta la Ciudad de Buenos Aires a los autores de las tres obras finalistas, hasta un máximo de dos autores por obra.
11.2 El Concierto se realizará el 22 de octubre del 2008 en una sala de la ciudad de Buenos Aires a ser anunciada oportunamente. En una ceremonia previa al mismo, y en la misma sala, se realizará el anuncio de la obra adjudicataria del Premio acorde con la decisión del Jurado.
11.3 Según lo indicado más arriba, las tres obras finalistas formarán parte del programa a ser ejecutado en el Concierto.
12° - Otras Condiciones Generales:
12.1 Al presentarse como concursantes, los participantes aceptan automáticamente todas las condiciones detalladas en estas bases.
12.2 A la Fundación corresponde la aclaración de toda duda que surja en la interpretación de este documento y la decisión sobre cualquier cuestión no prevista en él.
12.3 La Fundación se reserva el derecho, a su único y solo arbitrio, de cancelar y/o suspender el concurso, como así mismo de modificar total o parcialmente sus bases y condiciones, sin que de ello se genere obligación de resarcimiento y/o compensación alguna a favor de los participantes. En el supuesto de que el Concurso fuese cancelado, la Fundación procederá a devolver a cada participante el material indicado según lo previsto en el artículo 7, no resultando aplicable las prerrogativas reservadas por la Fundación en el artículo 8.

SC 3.2 rc3 now available

2008-02-04T02:40:00.000-08:00

Hi all

-Thanks for the feedback on the previous release candidates -

we cannow announce that the third "release candidate" of SuperCollider 3.2is now available.

Mac bundle and source-code downloads are available at:

http://sourceforge.net/project/showfiles.php?group_id=54622

If no important problems are revealed then this will be the official3.2 release,
the release on which the forthcoming book will be based.

(BTW: If you use a "startup.rtf" file on Mac, it should now be locatedin
~/Library/Application Support/SuperCollider, not in ~/scwork)

Dan

SCREAM 2008 Call for New Works for Piano and Electro-Acoustic Music

2008-02-04T02:30:00.001-08:00

SCREAM (Southern California Resource for Electro-Acoustic Music) announces a call for new and unperformed works for piano and electro-acoustic music. The electro-acoustic music may exist on fixed-media, or as a type of live/eam. One work will be selected from the submissions to receive a prize of $500 US* and a world premiere performance on the SCREAM 2008 concert featuring internationally-renowned pianist Vicki Ray. The concert will take place in late 2008 at REDCAT (Roy and Edna Disney - CalArts Theater) in the Walt Disney Concert Hall complex in Los Angeles.
Length: Works must be between 10 and 20 minutes in duration.
Works for Fixed-Media: The electro-acoustic music portion of the work should be recorded on a standard CD, or, if there is a visual element, on a standard DVD (region-free). Works requiring a click track for the pianist are permissible, and should be submitted as both a stereo audio CD (containing the electro-acoustic music) and as AIFF files (containing all tracks) on a data CD or DVD.
Works for Live/Electro-Acoustic Music: Since there are so may possibilities with regards to live/eam, the materials submitted will depend upon the nature of the work. However, all live/eam works must have a detailed description of the work, a list of all equipment necessary to perform the work, and, if possible, a recorded realization of a hypothetical performance of the piece.
Scores: The notation for the piano may be traditional or graphic, but the score must be either printed by means of a notation program or, if in autograph form, clearly legible. Illegible or poorly-notated scores will be disqualified.
Age & Nationality Qualifications: There are no qualifications as to the age or nationality of the composer.
Submission Fee: There is no fee for submitting a work.
Submission Limitations: A composer may submit only one work.
Required Documentation: Each work must be accompanied by a printed information sheet including the composer’s full name, mailing address, e-mail address, phone number, the full title and duration of the piece, a short biographical sketch and brief program notes.
Deadline: Submissions must be received by April 14, 2008. This deadline is firm. Submissions received after that date, regardless of postmark date, will not be considered. Early submission is encouraged.
Return of Materials: If you wish to have submitted materials returned to you, please include a self-addressed, stamped envelope with your submission. All unused materials without an SASE will be destroyed at the end of the selection process.
Notification: All composers who have submitted works for this event will be notified by e-mail by the end of May, 2008.
Send submissions to: Vicki Ray
CalArts School of Music
24700 McBean Parkway
Valencia, CA 91355-2397
USA
For questions or more information, e-mail: schrader@calarts.edu

Come and make a NOISE!

2008-01-31T08:33:00.000-08:00

The Neo Futurist Collective Needs You!

(www.neofuturist.org)

We are looking for a large number of volunteers to create a NOISE in

Jubilee Square, Brighton on 20th February.

On the 99th Anniversary of the publication of the Founding of Futurism

manifesto, a group of artists are holding a rally in celebration of

Urban Noise before the press and media, to declaim our Neo Futurist

Noise manifesto.

We will also hold a minutes silence in commemoration of fallen artists

from the recent Arts Council cuts.

Contact Joe on artofnoises@gmail.com to register your participation.

Participants need to be available on the day from 11am for a maximum

of 90 minutes (please bring your mobile phone).

The Neo Futurist Collective are:

Joseph Young (curator), Rowena Easton, Mikhail Karikis, Rachel

Gadsden, Abigail Norris, Harry Neve, Eva Weaver, Peter Faulkner, Mike

Blow, Chris Umney.

calls for Moving Forest - transmediale08 berlin

2008-01-30T00:05:00.000-08:00

For those of you who maybe coming to transmediale08 berlin

As part of the 12 hour Moving Forest performance (11:00 -23:00) at Haus der Kulturen der Welt, Moving Forest of the People Front calls for an act of insurgency with Berliners for the final FOREST march toward CASTLE takeover Transmediale08.

On February 1 at 19:00
CALL for DS Revolt:go northwest 20 Allied Clearing House [Bundestag]
CALL for Radio Gun Revolt: Symphony of noise [Siegessäule]CALL for AIR: GAMEoverTAKEoverOVER [JVA Berlin Moabit]
CALL for transmission: autonomous transmitting units [JVA Berlin Moabit]

For those of you who have a few streams of rumblings, disruption, upheaval, turbulence, turmoil and convulsion or simply uplifting, please join backyard radio's CALL for netstreams: Conspire and take remote control

BACKYARD RADIO in association with AKA THE CASLE invites all net streamcasters to join the multi-channel sonic uproar by sending in net streams.

The moving forest - its standing, its moving is floating towards the center of empty wireless power. Conspire with your radio station, sound studio, toy shop, sample archive, live improvisation, mouth poetry, boombox collection. You´ll be streamed, televised, wiretapped, remixed, multiplexed, oversampled, frequency modulated and broadcasted.
Each network sound stream gets on air for 20 minutes slot and mixed into the ensemble stream and microradio broadcast.

SIGN UP for your time slot at

http://www.movingforest.net/
mailto:info@backyardradio.de
Moving Forest presented by AKA the castleCONSPIRE, Transmediale08House of World Cultures, BerlinFebruary 1, 2008
'Moving Forest', is a 12-hour 5 act sonic performance operating with public wifi and mobile technology - an expandable citywide operatic manoeuvre/intervention. Derived from Kurosawa's film version of Macbeth, Spider Web Castle, 'Moving Forest' renders the film's final sequences (12 minutes in length) into a 12-hour 'sonica' of grand scale. 'Moving Forest' reinvents a modern edition of a Castle Central (here: the House of World Cultures) and a city in revolt. Inside the castle, the downfall of the assumed power; outside in the city, the mobilised urbanites march with generated sounds of insurgence towards the imaginary Centre. 'Moving Forest' collaborates with sound artists to compose acts and scores, at the same time, drafts a PD (pure data) conspiracy scheme, performing live with citywide performance transmitted by wifi.
[AKA the castle] is a temporal performance troop bringing together visual artists, writers, soundists, silk threaders, codedecoders, macromikro, boombox mass, mobile agents, wifi fielders and urbanites to realize the 12 hour Moving Forest.

First release candidate of SC 3.2 now available!

2008-01-28T02:11:00.000-08:00

Dear all,Thanks to the efforts of lots of SC developers, we can now announcethat the first "release candidate" of SuperCollider 3.2 is nowavailable.Mac bundle and source-code downloads are available at:

http://sourceforge.net/project/showfiles.php?group_id=54622

The "release candidate" means that the developers consider itappropriate for general release, so we're putting it out for generaluse and testing. If no important problems are revealed then this willbe the official 3.2 release, the release on which the forthcoming bookwill be based.The changelog, showing what's new, can be seen here:

http://tinyurl.com/28nx7b

Best
Dan

Convocatoria IN-SONORA IV

2008-01-22T21:45:00.000-08:00

Próxima convocatoria IN-SONORA IV, Muestra de Arte Sonoro e Interactivo
del 22 de enero al 25 de febrero

IN-SONORA es una asociación cultural creada para apoyar y dar visualidad a propuestas artísticas experimentales relacionadas con la interactividad y/o lo sonoro, desde un punto de vista amplio y multidisciplinal.

Desde el 22 enero IN-SONORA abre la nueva convocatoria para proyectos que tengan como medios de expresión el sonido y/o la interacción.

BASES

Fecha límite de presentación: 25 de febrero 2008
(se admitirá que esté sellado el envío ese día)

Enviar a:
IN-SONORA
C/ La Palma, 28
28004 – Madrid -
Teléfono: 91.521.35.84

o al email: info@in-sonora.com

Lista de pre-seleccionados: 10 de Marzo del 2008

Los artistas pre-seleccionados serán contactados personalmente para concretar datos de la obra y montaje.

Fecha para la muestra: 14 – 26 octubre 2008. Noviembre documentación de la misma

CONVOCATORIA:

1. Tema: libre

2. Formatos: la muestra está abierta a todo tipo de trabajos sonoros e interactivos así como a diferentes modos de presentación de los mismos:

- instalación sonora y/o interactiva (para mostrar en sala)
- pieza experimental para presentación en directo (performance, concierto...)
- pieza audible (para zona de documentación)

- proyecto online (para zona de documentación)
- estudio teórico (para conferencias-debates)

3. Selección:

a. Las obras presentadas tendrán que estar ya produccidas y contar con todos los medios técnicosnecesarios para su correcto funcionamiento durante la muestra.

b. In-sonora no puede hacerse cargo de gastos de transporte, dietas, seguros...

c. Los artistas seleccionados cederán los derechos de exhibición, tanto de imagenes, como textos presentados, así como de toda la documentación que se produzca en la muestra; siempre para difusión del proyecto y sin ánimo de lucro.

d. In-sonora aportará la organización de la muestra, las sedes que van a cubrir tanto la parte expositiva como conferencias y eventos, así como la difusión en todos los medios posibles que tengamos a nuestro alcance.

4. Documentación a presentar:

a. Formulario adjunto completo

b. Memoria explicativa del proyecto donde se detalle: título, descripción y situación actual de la obra. Necesidades técnicas y espaciales.

c. CD o DVD con todo el material que ayude a la comprensión de la obra (vídeo, sonido, fotografías, esquemas, bocetos...).

d. Currículum, datos personales y de contacto del artista o colectivo.

e. Dossier digital con fotografías, textos y bocetos de obras anteriores (siempre que ayude a valorar mejor la obra presentada).

*Importante: Todo el material anterior deberá ser entregado en formato digital (textos en word, fotografías en calidad (aprox. 5 MB), sonido en aiff o wave, mp3 y videos en avi o mov.)

La muestra se realizará entre los meses de octubre o noviembre del 2007 contando este año con 7 sedes: Centro Hispano-Colombiano + Cruce + Espacio F + Espacio Menosuno + Medialab Prado + Off Limits + YOPoArt.

Podéis ver lo seleccionado en otras ediciones en la web:

IN-SONORA IV
+ info:
http://www.in-sonora.com
http://www.youtube.com/insonora

Call to Musicians: 3rd Annual Boise Experimental Music Festival

2008-01-21T08:09:00.000-08:00

This is a call to performers for the upcoming 3rd Annual Boise Experimental Music Festival, which will take place May 29 through June 1, 2008. If you are interested in performing at this event, please review the details of the program below and follow the submission guidlines located here: http://www.boisemusicians.com/BEMF-3/Submittals.htm (also pasted at the end of this message)

Warm regards,

Krispen Hartung
Boise Experimental Music Festival
Event Coordinator and Artistic Director
info@krispenhartung.com
1-208-724-5603

3rd Annual Boise Experimental Music Festival

Festival Overview

The 3rd Annual Boise Experimental Music Festival is a four-day event occurring May 29 through June 1, 2008 in the Boise down town and North End areas. The festival will feature approximately 38 musical performances, 14 headliners from out of state or other countries, 24-30 unique performers/groups, and 20 hours of music. The music performances featured at the festival will fall into the experimental, avant-garde, or free improvisation music genres. The festival will also integrate experimental and avant-garde film, during intermissions and during most all performances to produce a multimedia experience for attendees.

The purpose of this music festival is to a) promote and increase awareness of experimental music in the Boise and surrounding Treasure Valley, b) provide a recurring annual venue for experimental musicians to express their art amongst their peers and potential music enthusiasts, and c) foster local artistic diversity, awareness, and appreciation of unusual and avant-garde forms of art.

Websites

www.myspace.com/boiseexperimentalmusicfesival
www.boisemusicians.com/BEMF-3/

Mission Statement

The intent of BEMF-3 is to raise awareness and appreciation of experimental music, provide an artistic venue and outlet for experimental musicians from all over the world, and place Boise, Idaho on the world map of creative music as a best-in-class and highly respected music event.

Timing

The date for this festival is May 29 through June 1, 2008 (Thursday through Sunday). The event will begin with an evening kickoff performance on Thursday at 3 Shapes Aikido in the North End of Boise from 7pm to 11pm. On Friday there will be another evening performance for headliners at the El Korah Shrine Center, from 9pm to Midnight. On Saturday, the main festival begins at 1pm at the El Korah Shrine Center for back to back performances until 7pm, and then there is a third set of evening headliner performances from 9pm to Midnight. Finally, on Sunday, the festival begins at 1pm at the El Korah and continues until 7pm. On Monday, there will be a luncheon for all performers at the Bittercreek Alehouse, at 1pm.

Note: the above timing and details are subject to minor changes until the month before the event.

Venues and Overall Program Schedule

May 29, 7pm - 11pm (Thursday)
3 Shapes Aikido
1512 north 10th street
Boise, Idaho 83702
208.387.0410

May 30, 9pm - Midnight (Friday)
El Korah Shrine Center
1118 W Idaho
Boise, ID 83701
208-343-0571

May 31 (Saturday, 1pm - 7pm)
El Korah Shrine Center
1118 W Idaho
Boise, ID 83701
208-343-0571

May 31 (Saturday, 9pm - Midnight)
El Korah Shrine Center
1118 W Idaho
Boise, ID 83701
208-343-0571

June 1 (Sunday, 1pm - 7pm)
El Korah Shrine Center
1118 W Idaho
Boise, ID 83701
208-343-0571

Note: the above timing is subject to minor changes until the month before the event.

Festival Grid

	May 29	May 30	May 31 Saturday	June 1
	Thursday	Friday	May 31 Saturday	Sunday
1:00			“Main Festival” 1-7pm El Korah ShrineCenter 1118 W Idaho Boise, ID 83701 208-343-0571	“Main Festival” 1-7pm El Korah Shrine Center 1118 W Idaho Boise, ID 83701 208-343-0571
2:00
3:00
4:00
5:00
6:00
7:00	“Kickoff Show” 7-11pm 3 Shapes Aikido 1512 north 10th street Boise, ID 83702 208-387-0410
8:00
9:00		“BEMF Headliners” 9pm – 1am El Korah Shrine Center 1118 W Idaho Boise, ID 83701 208-343-0571	“BEMF Headliners” 9pm – 1am El Korah Shrine Center 1118 W Idaho Boise, ID 83701 208-343-0571
10:00
11:00
12:00
1:00

Note: the above timing and details are subject to minor changes until the month before the event.

Giant Ear))) CALL FOR SUBMISSIONS

2008-01-15T09:01:00.000-08:00

Call for submissions for the Giant Ear))) show.

Giant Ear))) is a webcast produced by the New York Society for Acoustic
Ecology. It can be heard from 7-9 PM every Sunday eve at www.free103point9.org
.Shows feature a wide range of field recordings, interviews and compositions
based on field recordings.The last Sunday of every month there is new
content.

The February show's theme is "Urban Rhythms". Please submit your field
recordings (or compositions based on field recordings) of naturally occuring
rhythms in your city's soundscape (long or short) via an upload service to
jonnysounds@gmail.com or mail to:

Jonny Farrow -- Giant Ear)))
C/O Production Resources, Inc.
50 West 17th Street, 10th Floor
New York, NY 10011

Deadline is Friday, February 8.

Thanks!

Jonny Farrow
Co-Chair, New York Society for Acoustic Ecology

Call for Works: 60x60 project

2008-01-14T07:41:00.000-08:00

The Following is the Call for Works for the 60x60 project in 2008

Continuing to promote contemporary composer and their works, Vox Novus is
inviting composers to submit recorded works 60 seconds or less in length to
included in its sixth annual 60x60 project. 60 compositions will be selected
to be played continuously in a one-hour concert. The 60x60 concert season
will begin with a debut in New York City and continue throughout the world
in venues to be announced. Please submit recording(s) of work and submission
form post marked before March 31st, 2008 to:

60x60
c/o Robert Voisey
Radio City Station
P.O. Box 1607
New York, New York
10101 USA

More information can be found at:
http://www.voxnovus.com/60x60/Call.htm
http://www.voxnovus.com/60x60.htm

During the concert each of the 60 pieces selected will begin precisely at
the beginning of the minute, this will mark the end of one piece and the
beginning of another. There will be no pause between the pieces. Works may
be less than 60 seconds in length, but may not exceed 60 seconds. Works
selected that are less than 60 seconds long will be "padded" with silence
either before, after, or surrounding the composition. Please note that the
total duration of the work including silence may NOT exceed sixty seconds.

The 60x60 project's definition of a record work is as follows: any work
created as a musical composition which is captured on recorded media, which
does not require live performers for its production in broadcast at concert
halls, radio, multi-media, etc. Its creation can include but not limited to
acoustic instruments, voice, environmental sources, and computer (Sampling,
MIDI, C Sound, ProTools, etc.)

Acoustic compositions should be submitted with the understanding that it is
their recording that is of prime importance and is what will be used to
determine its selection. Scores of works are strongly discouraged and will
not be used in the selection process.

60x60 is a project of "signature works" and short works created specifically
for the 60x60 project. Excerpts of larger works are strongly discouraged.
Works generated from procedures (i.e. mathematical matrices, organizational
systems, or computer programs,) remixed works, or themes and motives
recomposed from other of the composer's own work are acceptable.

The call is open to composers of any nationality, age, or career stage.
Works submitted must not have been previously performed or broadcasted.
Compact Discs that include the audio submission must be labeled with the
composer's name and the title of the work. The submission form must be sent
at the same time with the submitted work. Submission form must contain the
composer's name, address, email, phone number, composition title,
composition length, and track position on the compact disc. Biographies and
program notes may be included on a separate sheet, but must be typed and
each may be no longer than 100 words in length.

Multiple works may be submitted. Each work must be noted on the submission
form(s) and clearly indicated on the CD. Do Not send originals! No works
will be returned, and may be performed in subsequent performances after the
debut concert. All submissions must be postmarked by March 31, 2008.
Selected works will be announced on August 1st, 2008. Submission of the
work(s) on compact disc must be accompanied by the submission form and sent
to:

60x60
c/o Robert Voisey
Radio City Station
P.O. Box 1607
New York, New York
10101 USA

Deadline: Submissions must be postmarked by March 31, 2008

Submissions must include:

Submission Form (including bio and program notes) and a labeled CD
containing the submission in audio format. Submission forms can be
downloaded at http://www.VoxNovus.com/60x60/Call.htm or by written request
to Vox Novus

Works selected for the 2008 60x60 project will be announced on August 1st,
2008. Composer will be notified of the results by email or they can visit
http://www.VoxNovus.com

Any questions regarding the call for works can be addressed to
Support@VoxNovus.com

BARCELONA: Zeppelin 2008 - Convocatoria / Call For Works

2008-01-11T23:27:00.000-08:00

ZEPPELIN 2008
SORDERAS

Un año más, la Orquestra del Caos anuncia una nueva edición de Zeppelin, Festival de Proyectos Sonoros, abriendo su convocatoria de piezas sonoras en torno a las sorderas que nos acechan.

Hay muchos tipos de sordera pero aquellas a las que queremos atender primordialmente en este Festival de Arte Sonoro son esas apenas perceptibles que van minando nuestra escucha. Nos gusta escuchar los ruidos y trabajar con ellos, pero sabemos también que estos ruidos a menudo inoculan una suerte de sordera mental. Queremos escuchar con todo nuestro cuerpo y por ello, os invitamos a reflexionar y a realizar piezas sonoras que atiendan al exceso de verborrea, imágenes y sonidos que bajo la cobertura de la llamada información inundan nuestros oídos; a ese rumor incesante y repetitivo que las consignas políticas pretenden grabar en nuestras mentes y nuestros comportamientos; a los extraños sonidos que generan las grandes concentraciones de poder; al modo en que continuamente se nos insta por doquier a considerarnos clientes, consumidores y no ciudadanos... a todo ese ruido que nos deja sin sonidos propios. Por ello, queremos preguntarnos qué es realmente lo que podemos escuchar; qué mecanismos operan esta gran sordera mental y social que nos aqueja y, sobretodo, interrogar nuestras/vuestras creaciones en tanto dispositivos de una escucha que se alza contra todas esas sorderas que habitan nuestro tiempo.

Invitamos a todas las personas interesadas en el sonido a que se unan a estas reflexiones enviando sus trabajos sonoros.

Las piezas serán difundidas en un sistema de ocho altavoces los días 13, 14 y 15 de Marzo de 2008 en el Centre de Cultura Contemporània de Barcelona (CCCB)

REQUISITOS

Todas las obras recibidas serán aceptadas siempre que cumplan las
siguientes condiciones:

1. Las piezas NO deben tener una duración de más de diez (10) minutos

2. Los trabajos deberán estar en formato WAV o AIFF a 44.1 khz y 16 bits

3. Se debe adjuntar la siguiente documentación:
3.1. Comentarios acerca de la pieza
3.2. Biografía artística del autor
3.3. Documento firmado por el autor manifestando autorización o desautoriazación explícita para la difusión de su pieza través de Internet
3.4. Documento firmado por el autor manifestando su conformidad para que la pieza forme parte del archivo de arte sonoro de Sonoscop

4. Los trabajos con la documentación tienen que llegar en soporte CD/DVD antes del 15 de Febrero de 2008 a:

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

Más información en caos@sonoscop.net

Agradecemos la difusión.

{english version}

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

We appreciate any difussion

...........................................

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

Call for Multi-channel works; EuCuE XXVI, Feb 2008

2008-01-11T23:26:00.000-08:00

EuCuE

(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)

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.

kevin.austin@videotron.ca

ICMC 2008 - Deadline extension

2008-01-11T23:18:00.000-08:00

ICMC 2008

Deadline for submissions – extension

The deadline for all music and paper submissions to ICMC 2008 has been extended to Friday 8 February. All online submissions must be made by this date, and postal submissions must be date-stamped no later than this date, to be eligible for consideration. We welcome submissions in all areas of computer music. Detailed submission instructions and general information on the Conference can be found at www.icmc2008.net

For further information about any aspect of ICMC 2008, contact admin@icmc2008.net

ICMC 2008 is hosted by the Sonorities Festival of Contemporary Music, in association with the International Computer Music Association, at the Sonic Arts Research Centre, Queen’s University, Belfast

_________________________________

Dr Pamela Smith

Administrator

International Computer Music Conference 2008

www.icmc2008.net

Sonic Fragments Conference - Call for Works - Deadline 2/15

2008-01-11T23:03:00.001-08:00

SONIC FRAGMENTS: NARRATIVE AND MEDIATION IN SOUND ART

Princeton University, Princeton, NJ, USA

March 28-29, 2008

Deadline: February 15, 2008

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.

Please feel free to pass this announcement on to others!

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