CINESONIKA: The First International Film and Video Festival of Innovative
Sound Design is adding a conference component. We are seeking
interdisciplinary contributions on sound in relation to the moving image.
Film scholars, art historians, performance theorists, composers,
filmmakers, sound practitioners – we invite these and others to submit
proposals for 20 minute panel presentations. All accepted submissions will
be considered for inclusion in an edited volume (papers should be
expandable to 3000-5000 words if selected for final essay publication).

Website: www.cinesonika.com

Submitting:

Please write “Cinesonika- Paper Submission” in the subject heading.

Deadline for Abstracts (under 500 words): July 31st 2010.

Deadline for Papers (for 20 minute panel presentations): September 15th 2010.

Please submit your abstract and short bio both as an attachment (.doc or .pdf) and also pasted into the body of your email submission, to info (at) cinesonika.com.

Festival Dates: Nov. 12th-21st 2010.

Conference Dates: Nov. 13th-14th 2010.

Location: Simon Fraser University- Surrey Campus (Vancouver, British Columbia)

ART342 offers 15-week residencies to emerging and established artists, writers and composers. Studios, a kiln and basic equipment are available for most visual artists, including ceramicists. Quiet spaces exist for creative or scholarly writers. The composer’s studio is outfitted with a Steinway B, computers and software for writing and recording.

Awards for accepted applicants include 24-hour access to free studios, living spaces for those coming from outside the Northern Colorado area and a modest stipend. Residents are responsible for personal expenses and travel to and from the site. Situated in a semi-rural area, ART342 is just 6 miles north of Historic Old Town in Fort Collins. Up to 9 studios and 5 living spaces are maintained as private places for creative work. Pets, children, visitors and partners are strongly discouraged.

Upcoming application deadline for FALL 2010 is July 1. There is no application fee.

For more information regarding future application deadlines and residency details, visit: www.art342.org.

The Call for Proposals to host the 2012 SEAMUS National Conference has been posted. Contact Christopher Hopkins, SEAMUS Director of Conferences for more information.

The UMBC Department of Music announces its first annual LIVEWIRE Festival
and Symposium (Oct. 28-30, 2010). The theme for 2010 focuses on
developments and trends in contemporary music in the first decade of the
21st century. We are soliciting proposals for paper presentations, lecture
recitals, and demonstrations related to music making in the first decade
of the millennium, including but not limited to uses of technology,
performance practice, specific works or composers, trends in any and all
musical genres, issues of documentation and dissemination, or issues
related to under-represented groups.

Interested participants should send an abstract of 250 words or less,
audio documentation and a proposed program (for lecture recitals), a short
bio, and a list of technical requirements to: Dr. Linda Dusman, FA 510
UMBC, 1000 Hilltop Circle, Baltimore, MD 21250.

Digital submissions are
encouraged, and should be sent to dusman (at) umbc (dot) edu with a subject of
“livewire”.

Postmark deadline: June 25, 2010

The I-Park Foundation is pleased to announce its first
Thanatopolis Prizes in music composition.

The I-Park Foundation, a not-for-profit international arts
community sited within an expansive nature preserve in East
Haddam, Connecticut, is seeking three separate music
compositions for the Thanatopolis Project, an alternative
memorial park/space in the advanced conceptual phase of its
development. I-Park is looking for works that harmonize with
the long-term goal of Thanatopolis, which is to re-imagine our
cultural and personal relationship to death, memory and
memorialization – and to engage the fields of music
composition/sound sculpture and other artistic and creative
disciplines to bring about a new and powerfully sacred and
evocative landscape/sound-space.

A $2,000.00 cash award will be granted in each of the following
three categories:

Memorial Composition

This piece should be between 4 and 12 minutes in length and be
thematically appropriate for a (at this point,
non-denominational or virtual) memorial ’service’ within the
Thanatopolis Space. I-Park is soliciting existing compositions
that lend themselves to a live performance by a chamber ensemble
or as a pre-recorded presentation with at least some live
elements. The submitted piece ought not to have been previously
awarded a major prize in the field.

Tone Sequence/Annunciation

For the Tone Sequence/Annunciation, I-Park is looking for an
iconic new composition. The piece will likely mark the
commencement and/or conclusion of the official memorial ceremony
or serve as an ‘effect’ within the memorial ritual. The piece
is intended to be a cry, an alert, a pleading or invocation.
The selection should be in the range of 20 – 60 seconds in
length and be, to some considerable degree, site responsive -
referring to the Thanatopolis Space.

Processional

Unlike the Tone Sequence/Annunciation, which is a relatively
short audio phrase, the Processional is an extended new
composition that should range in length from 5 – 15 minutes,
though it could incorporate major elements of repetition or
cadence. The Processional will accompany the physical movement
of participants during a transitional phase within the memorial
ritual. It is intended to enhance the experience of the
physical transition.

Entry Fee: waived for this project Application Format: online
submission through the I-Park website

Deadline: all submissions must be received by July 5, 2010

Jury Format: blind competition

Restrictions: no restrictions as to nationality, age or gender

Musical Style: no restrictions

Acoustic vs Digital Instrumentation: open

Orchestration, Vocal Elements: see
http://www.i-park.org/Thanatopolis2010_FAQ.pdf

Thanatopolis Overview: http://www.i-park.org/Thanos.html

I-Park Website: www.i-park.org

Questions: contact Claire Jeffreys at Thanatopolis (at) gmail (dot) com

The theme of this international film and video festival is to celebrate the soundtrack. Usually in cinema festivals there is a fixation on movie stars, or captivating imagery, or the literary qualities of screenplays, or the abstract concepts of film theory. Sound tends to be relatively unvalorized in moving-image making. The intent of the festival is to give attention to innovative work in the creation of film and video soundtracks, and to give due credit to the importance of audio in audiovisual media.

This first annual festival will showcase international works of film and video with fascinating soundtracks, idiosyncratic sound design, eclectic scoring and innovative approaches to the sound-image relationship.

Festival Dates: Nov. 12th-21st, 2010

Location:

Vancouver, British Columbia, Canada

Simon Fraser University – Surrey Campus

Submission Deadline: September 1st, 2010

Contact Details: info@cinesonika.com

For more information, including Submission details, please visit www.cinesonika.com

Calling all: electroacousticians, composers, musicians, sound artists, noise designers, aural engineers, audio tinkerers, etc., etc. from anywhere at any time.

To a: call for works for SoundCrawl:Nashville 2010. We are looking for stereo works not longer than 7 minutes in AIFF format. Submitted files must be titled as LastName_PieceTitle. Video projection is available this year in one space. Submitted video files must be formatted in h.264 .mp4 with the same time restrictions and stereo sound. There are no live performances.

The call: will be open from March 1st to August 1st, 2010.

To submit visit: our submission page. In an effort to go green we are accepting only online submissions this year. Submissions will be sent via YouSendIt.com and payment through our paypal account.

Details, details: Submissions must include a short biography of the artist and a program note of the work (both limited to 1,000 characters) and some technical info (software/hardware used, etc.). Cost of submission is $5 per work (major credit cards and foreign currencies are accepted). Works will be programmed together at “SoundStations” in various galleries and other spaces around downtown Nashville. A selection of the top pieces will be chosen for our “MainStage” in the center of the Arcade for performances throughout the evening.

everglade records and the Florida International University-Wolfsonian Museum announce a call for audio works related to the theme of speed. Slated for release to coincide with a forthcoming multi-museum exhibition entitled Speed Limits sponsored by the FIU-Wolfsonian Museum (Miami Beach) and the Canadian Centre for Architecture (CCA, Montreal), works submitted for publication consideration to the audio Speed Limits project can address one or more of the following issues with respect to speed: pace, traffic, construction, efficiency, motion, and mind+body. Selected works will be featured on a forthcoming DVD project.

For more information, please visit our website. Submissions must be received by June 1, 2010.

In celebration of EMM’s 10th Anniversary, Kansas City Kansas Community College and Lewis University are pleased to announce a call for submissions for the Electronic Music Midwest Festival, to be held October 14-16 2010 at Lewis University.

Each concert will feature an 8.1 speaker diffusion system. Acclaimed flutist, Rebecca Ashe, will be the featured performer, and composers are encouraged to submit works for her consideration. Any composer regardless of region, age or nationality may submit one work for consideration in the following categories:

1) Composition for Flute and fixed media/electronics

2) Two channel works for fixed media

3) Up to Eight channel works for fixed media

4) Instrument(s) and fixed media or live electronics (composer to provide performers)

5) Works for video

6) Sound Installations and Interactive Media (composer to provide all non-standard equipment)

7) Live Laptop works

8) Live Interactive works

Deadline: June 1, 2010, postmark deadline (scores must arrive by June 12, 2010)

Entry Fee: none

Submission Guidelines:

1) For consideration, applicants must register and complete an online submission form available at http://www.emmfestival.org. Further submission guidelines are available upon submission registration.

2) Accepted formats for consideration are Audio-CD, DTS CD, DVD-Video,and DVD-Audio. Do not send Data CDs or Data DVDs. For adjudication purposes, multi-channel works (up to 8 channels) must be submitted as a stereo mix on audio CD. Submissions should clearly state requirements if a non-standard speaker configuration is required.

Note, “works in progress” will be considered if a substantial portion of the work is submitted. Composers and authors whose works are selected for this festival are required to submit a $40 registration fee upon selection and must agree to attend the festival. Regrettably, EMM is not able to offer travel stipends or honorariums to festival participants at this time.

Submitted works can only be returned if an SASE in enclosed, else they will be archived for future considerations. EMM is not able to consider works that do not conform to the guidelines outlined above.

Issue thematic title: Performance Ecosystems

Date of Publication: August 2011
Publishers: Cambridge University Press
Issue co-ordinator: Simon Waters (s.waters@uea.ac.uk)

The distinctions between a performer, an instrument, and an environment seem at first glance self evident, but plenty of evidence exists that the relationships between them can be complex and dynamic. An equally tempered Boehm clarinet affords, when ‘re-programmed’ by the mindset of a South Indian performer, entirely idiomatic interval structures and articulations for another highly developed musical tradition. A musical instrument is not, or at least not only, a physical object, but has properties which emerge through use or expectation (programming). A systemic understanding of performance activity might usefully enhance our understanding of the interpenetrations and feedback systems which exist between apparently disparate component parts. As we move into a musical world where we can intervene digitally in the performance ecosystem we open up possibilities for new formulations of and relationships between the ‘components’, whether by accessing ‘distant’ or virtual audiences/environments, or by combining physical and virtual elements in an unforeseen manner.

What happens when practitioners regard the context for the performance of their work as co-extensive with or even constitutive of that work? How can an understanding of the voice as an embodied performance tool help to sophisticate our understanding of the complex interpenetrations between a performer and ostensibly ‘separate’ instruments? How does an ecological approach to perception (Gibson, Windsor, Clarke) contribute to our understanding of what happens in highly technologised musical practices? How might performance systems that occupy both real and virtual space – hybrids of the physical and virtual – provoke shifts in our understanding of public and private action?

Can thinking of performance as an ecosystem, or the importing of other models from biology, help resolve the difficulties of making music with multiple laptops? The power of ecological or ecosystemic metaphors for performance lies in the fact that they embrace adaptive, emergent or dynamical qualities. How might we go about designing such principles into performance interfaces? What would it feel like to perform with controllers whose behaviour evolves over time, or whose characteristics are ‘sticky’ or non-linear?

Music has always drawn on other disciplines and ways of modelling the world for metaphors which expand its resources both sonically, as organised sound, and socially, as human activity. This issue of Organised Sound invites submissions from both theorists and practitioners for whom ecosystemic or biological models form a provocative or productive point of departure for any aspect of their work.

As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

Deadline for submissions is 1 November 2010. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”. Supporting audio and audio-visual material will be presented as part of the journal’s annual DVD-ROM which will appear with issue 16/3 as well on the journal’s website.

SUBMISSION DEADLINE: 1 November 2010

SUBMISSION FORMAT

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url: http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)

Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk, not to the guest editors.

Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files) should be submitted to:

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