Call: WRO 09 Expanded City is seeking media art entries

WRO 09: CALL FOR WORKS

WRO 09 Expanded City
13th Media Art Biennale
20th Anniversary Special Edition

WRO Center for Media Art Foundation announces the international competition WRO 09 Expanded City.

The Competition is aimed at artists, producers, distributors and rights holders who explore novel forms of artistic communication, created within the field of electronic media. The competition encompasses screenings, installations, objects, performances, multimedia concerts, net and interactive projects, etc.

Every entrant may submit up to three works created after 01.01.2007.

Entries can be submitted with the online entry form available at http://wro09.wrocenter.pl/entry/. In order for a work to be registered in the Competition, it has to be posted to the competition office along with a filled-in and signed printout of the form.

The presentation of works chosen in the preselection for the Competition finale will take place during public showings with Jury throughout WRO 09 Biennale.

The deadline for submissions is 15 February 2009.

Schedule:

15.09.2008
Opening of the competition and the online entry form

15.02.2009
Submission deadline

5 - 10.05.2009
WRO 09 competition and main events

5.05 - 7.06.2009
WRO 09 exhibition, National Museum, Wroc½aw

The Competition Terms & Conditions, and the online entry form are available at http://wro09.wrocenter.pl/entry

Call: Netmage 09 - International Live Media Festival seeks entries

Netmage 09 - International Live Media Festival

Tue Sep 16, 2008
(Timezone: Eastern Time - Montreal)
www.netmage.it (map)
Calendar: Audio Calls

Call: Netmage 09 - International Live Media Festival

June 30, 2008 at 10:35 am · Filed under calls: internal

Call for entries
Deadline: 16 September 2008

Netmage 09
International Live Media Festival - 9th edition
Bologna, 29>31 January 2009

International Live Media Floor

The call for participation is now open for the International Live Media Floor of Netmage 09 a festival aimed to explore media innovation within the context of electronic arts that will take place in Bologna from the 29nd to the 31st January 2009.

The Live Media Floor - main section of Netmage festival program - is an international platform to confront practices of generating and/or mixing images and sound of every type and format exploring cinematic and inter-media aesthetics.

Participation is open to projects that employ electronic, electroacoustic, analogue and cinematic means to produce visuals and sound.

The projects selected will be performed, single or multi-screen, for a duration of about 20 minutes each.

Download entry form from
www.netmage.it

All material must be sent to:
Netmage
Via Cà Selvatica 4/d
40123 Bologna
Italy
tel (+39) 051 331099
bando@netmage.it
www.netmage.it

Call: "Ai-maako" Festival by the Electroacoustical Chilean Community seeks piano and electronic sound artists

Ai-maako: Call for submission

Sat May 31, 2008
(Timezone: Eastern Time - Montreal)
www.cech.cl (map)
Calendar: Audio Calls

The Electroacoustical Chilean Community (CECh) annually organizes the
International Electroacoustic Music Festival of Santiago de Chile, "Ai-maako".

The eighth edition of the festival will take place between the 11th and the
19th of October 2008. During its existence, more than 500 works by creators
from diverse countries have been performed.

CECh invites the electro-acoustical community to participate in our festival. A
special concert for piano and electronics will take place this year.
Submissions must be sent before May 31, 2008 (the post office stamp will be
valid as a reference) to the following address:

José Miguel Candela (CECh)
Casilla 104
Correo Villa La Reina
La Reina - Santiago de Chile
Chile

The works sent must fulfill the following conditions in order to be eligible:

a) Acousmatical or tape pieces (only 1 work)
- Format: Audio CD or DAT.
- CD-data and technical notes or diffusion score, in case of multi-channel
pieces
- Pieces of a duration no longer than 10 minutes
- Biography of the composer and program notes. Spanish translations are
welcomed (Paper and word document). No more than 100 words each one.

b) Mixed Pieces (depending on the organizers' possibilities of available
soloists; only 1 work):
- Works for soloist and electronics
- Works for piano and electronics are encouraged
- Duration no longer than 10 minutes
- Format: Audio CD or DAT
- CD-data and technical notes or diffusion score, in case of multi-channel
pieces
- The instrumental score must be sent by regular or registered post
- Please include a recording of the electronic part alone as well as another
one with the piece as a whole (electronics + acoustic instruments)
- Biography of the composer and program notes. Spanish translations are
welcomed (oaper and word document). No more than 100 words each one.

The list of selected works will be published by July 31, 2008. Selected
composers will be notified by e-mail.

Call: The 2nd Giga-Hertz-Award for electronic music is

Giga-Hertz-Award 2008

Sat Apr 19, 2008
(Eastern Time - Montreal)
www.giga-hertz-preis.de (map)
Calendar: Audio Calls

Giga-Hertz-Award 2008

Call for Application: The 2nd Giga-Hertz-Award for electronic music is
open for entries. Online Submission Deadline: April 19, 2008

In 2007, the ZKM | Institute for Music and Acoustics and the
SWR-EXPERIMENTALSTUDIO in Freiburg inaugurated the annual
Giga-Hertz-Award for electronic music. This new international music
award with its future-oriented concept exists thanks to the initiative
and commitment of ZKM director Peter Weibel. The award is funded by the
city of Karlsruhe and the Federal State of Baden-Wuerttemberg.
The Giga-Hertz-Award addresses composers working in the areas of
electronic and acousmatic music. Four Special Prizes are awarded once a
year by an international jury, and serve to initiate and support new
projects. Candidates are judged on the basis of a composition not more
than five years old and a proposal for a projected work.

The Special Prize consists of a project realization grant with which the
prizewinners realize their submitted proposal either at the ZKM |
Institute for Music and Acoustics in Karlsruhe or at the
SWR-EXPERIMENTALSTUDIO in Freiburg. This includes technical support and
guidance by the studio.
The four Special Prizes are endowed as follows:
2 x Euro 8,000 in form of a realization grant at the ZKM | Institute for
Music and Acoustics in Karlsruhe;
2 x Euro 8,000 in form of a realization grant at the
SWR-EXPERIMENTALSTUDIO in Freiburg.

To apply and for further information please visit www.giga-hertz-preis.de

Please feel free to forward this to all interested parties.

With best regards,
Ludger Bruemmer
Head of ZKM | Institute for Music and Acoustics


-----------------------------------------------------------------------

ZKM | Center for Art and Media
Institute for Music and Acoustics
Giga-Hertz-Award
Lorenzstrasse 19
76135 Karlsruhe
E-mail: music@zkm.de
www.giga-hertz-preis.de

Call: Papers wanted for "Uncertain Vibes: Tension, Contrast and Change in Electronic Dance Music"

Session:
Uncertain Vibes: Tension, Contrast and Change in Electronic Dance Music
Cultures

>From house to techno, dubstep to psytrance, electronic dance music
cultures (EDMC) are contexts for popular ekstasis and the carnivalesque
flourishing in social dance movements possessing unprecedented
popularity. With inheritance from Jamaican dancehall and sound system
traditions, New York disco and house Dionysia, Detroit techno and
Afrofuturism, UK rave and the ?chemical generation?, Goa trance and
psychedelia, etc, EDMCs are sites humming with diverse social,
stylistic, and technical influences. At the same time, EDMCs are highly
contested, with adversaries committed to repressive policies and
regulatory practices, or political mobilizations and adaptive moves to
maintain the vibe. As a result of this traffic and buzz (including that
generated by police helicopters), EDM genres are hives of contrast,
tension, and indeterminacy. Are aesthetic contrasts and social
contradictions resolved in the mix? What are the outcomes of tension
between adversaries? Are new dance musics and youth cultures emerging
from these dramas? If so, what do they look and sound like? Papers will
address these and related themes.

The official deadline for abstracts (150 words max) is Nov 30 2007.
Please post proposals to me (Graham St John) at
g.stjohn@uq.edu.au

The conference details at: http://www.crossroads2008.org/

Thanks

Graham St John

Call: video artist sought for Video Processing performance

Matteo Milani and Federico Placidi (U.S.O. Project) are currently
seeking a video artist for Video Processing performances and which
will take place in 2008 in conjunction with Live Electronic laptop
sets.
This call is open to all types of current interactive works in any form:
* Installations
* Generative Art
* Cross Media (involving sensors)
* Net.Art

There's no deadline to submit proposals.

Matteo Milani
www.usoproject.com

Call: Photos needed for electronic dance music book

Date: Fri, 26 Oct 2007 11:43:02 +0200
From: Graham St John
Subject: [Dancecult-l] Images for Technomad
To: Dancecult-l@listcultures.org
Message-ID:
Content-Type: text/plain; charset="us-ascii"

Since Berghahn have agreed to reproduce 20 B&W photos in my
forthcoming book with them (Technomad: Global Raving
Countercultures), this is a call out for images. I'm looking for
photos appropriate to the vast territory covered - see the
description below. If you believe you may have a suitable selection
or know someone who might, please get in touch with me or pass this
message on to interested parties.

Photos reproduced in the book will need to be at least 300 dpi B&W
tiffs (with owners supplying an emailed permission). I'm negotiating
for image owners to get a free or discounted copy of the paperback.

Thanks

Graham


Technomad: Global Raving Countercultures.

A cultural history of global electronic dance music countercultures
forthcoming with Berghahn (2008), Technomad offers a broad yet
detailed exposition of the pleasurable and activist trajectories of
post-rave. The book documents the emergence of a network of
techno-tribes, investigating their pleasure principles and cultural
politics. Attending to sound system culture, electro-humanitarianism,
secret sonic societies, teknivals and other gatherings of the
techno-tribes, intentional parties, revitalisation movements and
counter-colonial interventions, Technomad explores how the dance
party has been harnessed for transgressive and progressive ends, for
manifold freedoms. Seeking freedom from moral prohibitions and
standards, pleasure in rebellion, refuge from sexual and gender
prejudice, exile from oppression, rupturing aesthetic boundaries,
re-enchanting the world, minimising harm, reclaiming space, fighting
for "the right to party", and responding to a host of critical
concerns, electronic dance music cultures are multivalent sites of
resistance.

Drawing on extensive ethnographic, netogaphic and documentary
research, Technomad details the post-rave trajectory through various
local sites and global scenes, with each chapter attending to
important developments in the techno counterculture: e.g. Spiral
Tribe, teknivals, psytrance, Burning Man, Reclaim the Streets.
Significantly, the book offers a nuanced theory of resistance to
assist understanding of these developments. Written in an accessible
style, this cultural history of hitherto uncharted territory will be
of interest to students of cultural, performance, music, media, and
new social movement studies, along with enthusiasts of dance culture
and popular politics.
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Call: The Spatial Audio Creative Engineering Network seeks to commission surround sound audio art

The Spatial Audio Creative Engineering Network (SpACE-Net) is pleased to
announce a unique collaborative opportunity for composers, sound
artists, and sound designers working anywhere in the audio industry.

In partnership with leading audio company and soundcard designer
Creative, SpACE-Net would like to commission a specific piece of
sound design/sound artwork which has interactive spatial audio
considerations at the core of its composition, design and delivery
process. The piece should have broad aesthetic appeal and should be
able to serve as an advertisement of the creative possibilities
offered by spatial audio (i.e. it should sound good and be novel and
exciting).

The selected partnership/group will be supplied with a Creative Sound
Blaster(r) X-Fi Elite Pro Sound, a set of Creative(r) GigaWorks S750 7.1
loudspeakers and Creative¹s custom Interactive Spatial Audio
Composition Tool (ISACT ) software. The work should be produced,
delivered and presented using this technology, which will be the
artist¹s to keep. In addition SpACE-Net will contribute towards
artist¹s fees and expenses related to the completion of this work.

Full details of the call can be found at www.space-net.org.uk


--
Jude Brereton
Research Assistant
Audio Lab - Dept. of Electronics
University of York
tel. ++ 44 (0)1904 432407

www.space-net.org.uk

Call: The Synthetic Aesthetics of New Media Art Conference seeks presenters

Subject: Reminder CFP: The Synthetic Aesthetics of New Media Art
Date: Mon, 13 Aug 2007 06:38:03 -0500
From: Carolyn L Kane
Reply-To: Carolyn L Kane
To: PHILOS-L@liverpool.ac.uk

Call For Papers:

THE SYNTHETIC AESTHETICS OF NEW MEDIA ART
Presented by The New Media Caucus in Association with the College Art
Association
February 20-23, 2008; Dallas, TX http://conference.collegeart.org/2008/

Panel Chair: Carolyn Kane, PhD Candidate Media, Culture, and
Communication, New York University clk267@nyu.edu

Contrary to traditional aesthetic theories that argue for the primacy of
either the subjective and phenomenological, or formal and objective
interpretations of artwork, the aesthetics of electronic media, like the
logic of technical media itself, is thoroughly removed from
anthropomorphic sensibility. One could say that electronic media
aesthetics are marked by technical trauma.

However, much contemporary new media art criticism exemplifies a
hermeneutic approach that seeks to rationalize and transform work into
intelligible *art objects* for canonization and social theories. Is this
approach problematic for the logic of technical media? Can certain
attributes such as color, form, affect, or sound, effectively reconcile
computer based artwork with the subjective and humanistic drives in art
making?

The panel invites papers that address the aesthetics of New Media art in
distinction to previous aesthetic models or media platforms. For instance,
papers suggesting the ways in which color, sound, line, form, symbolism,
affect, anti-aesthetics or ideology may be distinct to new media
aesthetics are all welcomed. Essentially the panel inquires: what do
theoreticians and practitioners address in New Media art, and why? Which
artists and / or commercial work do you think best exemplifies these
issues? Special attention will be given to those abstracts that are
concerned with the use of color in New Media work.

Presenters can propose brief lectures; media or artist presentations of
their own, or other artist's work; discussions; or other acceptable
suggestions.

Timeline:
Due by October 1, 2007:
*Abstracts (max 500 words)
* Paper / Presentation Titles
*Confirmation that presenters will be able to travel to Dallas on February
20-23, 2008
* Current CV and a brief bio.
*Specification of presentation format

Send proposals and / or any question to Carolyn Kane clk267@nyu.edu
For CAA conference information visit:
http://conference.collegeart.org/2008/

Messages to the list are archived at
http://listserv.liv.ac.uk/archives/philos-l.html.
Prolonged discussions should be moved to chora: enrol via
http://listserv.liv.ac.uk/archives/chora.html.
Other philosophical resources on the Web can be found at
http://www.liv.ac.uk/pal.

Call: Plac.Art.X [the placard headphone festival]

from http://transition.turbulence.org/networked_music_review/

--

Call for Participants: Plac.Art.X [the placard headphone festival → 2007
→ Plac.Art.X]: FOUND SOUNDS - experimental, electronic and acoustic sounds.

On the 18th August Plac.Art.X is taking place at Leerer Beutel in
Regensburg, Germany. This will be a 12 hour festival, starting in the
afternoon at 3 PM (CET) and ending 12 hours later in the night at 3 AM
(CET). Plac.Art.X will be a mix of on location artists and virtual
remote artists. The theme of this placard is “Found Sounds” (including
field recordings), but don’t let that keep you from doing what you want.
If you play the nose flute or the cither - please go ahead! We are now
accepting applications and suggestions. Please email us: miulew at gmail
dot com or just sign up and login here.

Details about audio servers and patches will be sent after confirmation,
so please leave your e-mail address so we can have contact with you. The
Plac.Art.X will happen in in Regensburg as part of the art.xxXtenxion
happenings August 9 -September 2, by the media art group Pomodoro
Bolzano. The mix of local artists and remote artists on the same event
goes very well with the ongoing themes at art.xxXtenxion including other
mixed reality happenings that Pomodoro Bolzano is working with.

Call: ISCM World Music Days 2008 seeks musicians

PLEASE FORWARD

ISCM World Music Days 2008
Vilnius, Lithuania
24 October - 7 November 2008

DATE LIMITE / DEADLINE: 17 June 2007

[F] Il n'y a aucun frais d'inscription pour les soumissions à la Section canadienne de l'ISCM. Les résultats seront annoncés en début juin. Plus de détails sont disponibles sur .

[E] There is no submission fee for submissions to the ISCM Canadian Section. Selections will be announced in early June. Full details are available at .

> 5. Applications are invited for all kinds of music:
> - orchestra, string orchestra
> - large sinfonietta-type ensemble
> - chamber (from 1 to 8 instruments)
> - vocal and choral
> - multi-media, cross-media and sound installations
> - electronic and computer works,
> as well as any combinations other than above mentioned.

--

International Society for Contemporary Music
http://www.iscm.org
Press Release
http://www.iscm.org/iscmwmdcall2008_en.php
Présentation (sommaire) en français
http://www.iscm.org/iscmwmdcall2008_fr.php

--

Communauté électroacoustique canadienne (CEC) Canadian Electroacoustic Community
c/o Dept. de Musique, Université Concordia RF-302
7141 rue Sherbrooke ouest, Montréal QC CANADA H4B 1R6
[ http://cec.concordia.ca | http://econtact.ca | http://sonus.ca ]