Call: Ars Electronica open call for CyberArts

Dear friends of Ars Electronica!

The 22nd Prix Ars Electronica - International
Competition for CyberArts is open for entries.

>From its very inception in 1987, the Prix Ars
>Electronica has been conceived as an open
>platform for various disciplines at the
>intersection of art, technology, science and
>society. More than 3,300 submissions in 2007
>have further enhanced the Prix Ars Electronicaís
>reputation as an internationally representative
>competition honoring outstanding works in the
>cyberarts. The categories Digital Musics,
>Digital Communities and Hybrid Art are great
>indicators for this trend.
The aim of the competition is to continually keep
the Prix Ars Electronica updated in line with
leading-edge developments in the dynamic field of
cyberarts.
This year, six Golden Nicas, twelve Awards of
Distinction and approximately 70 Honorary
Mentions as well as a Media.Art.Research Award
are presented to participants. The 2008 winners
will receive a total of 115,000 euros in prize
money.

Prix Ars Electronica 2008
Online Submission Deadline: March 7, 2008
Contact: info@prixars.aec.at

Categories:
Computer Animation / Film / VFX
Digital Musics
Interactive Art
Hybrid Art
Digital Communities
Media.Art.Research Award
u19 - freestyle computing

More details about all categories and online
submission are available only online at:
http://prixars.aec.at

Please feel free to forward this to all interesting/ed parties.

With best regards,
Bianca Petscher on the behalf of the Prix Ars Electronica 2008 Team

Call: Audio art sought for Canadian Electroacoustic Society's 60x60 Project

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.

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. Selected works that are shorter than 60 seconds 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.

Eligibility:
The call is open to composers of all ages and career stages who live in
Canada, and to Canadian composers living in Canada or abroad. All other
composers may participate in the international 60x60 project (see below).

Eligible works:
Any sound or music captured on recorded media, which does not require
live performers for its presentation in concert. The piece may be of
any style and may comprise electronic sounds, field recordings,
recordings of voice or musical instruments, or other sound sources.
Recordings of acoustic compositions SHOULD NOT be accompanied by musical
scores. Works submitted should be created specifically for this project
and must not have been previously performed or broadcasted.

More information can be found at:
http://www.60x60.yaeldad.com (Canadian 60x60)
http://www.voxnovus.com/60x60.htm (International 60x60)
http://cec.concordia.ca (Canadian Electroacoustic Community)
http://sonus.ca (SONUS, the CEC's online electroacoustic Jukebox)

Call: Quickdraw Animation society seeks scholarship competitors

Hello Animators !


Quickdraw Animation Society is pleased to announce the 15th Annual NFB - QAS
Production Scholarship Competition. This Scholarship is intended to assist
individuals over the technical hurdles towardsmaking their first animated
movie. The Scholarship is a non-cash award open to all QAS members and the
general public. All applications will be reviewed by a jury of QAS Producing
Members. Two Scholarships will be awarded. The value of the Scholarship
exceeds $1500.00.


Scholarship consists of:
*enrollment in QAS animation courses*enrollment in QAS workshops*Producing
Membership for one year
*Equipment access for one year
*Technical assistance All applications must include the following:*completed
application form
*a cover page
*one page proposal
*current CV or Resume
* storyboards and/or pre-production art and/or description of
concept.(please do not submit original artwork)
- send copies onlyApplication Forms are available at QAS office or can be
down loaded fromthe QAS website at http://qas.awn.com
Application Deadline: Friday August 31. 2007 at 5:pm


Applications can be dropped off at the QAS Office or sent by mail
to:Quickdraw Animation Society
351-11th Ave. SW, Suite 201
Calgary Alberta Canada
T2R-0C7


DEADLINE: August 31, 2007
Info: (403) 261 5767 - qas@shaw.ca - www.awn.com/qas

Job: VIVO Media Centre seeks an Events and Exhibitions Coordinator

Events + Exhibitions Coordinator


VIVO Media Centre (Satellite Video Exchange Society) seeks a self directed,
motivated individual for the position of Events + Exhibition Coordinator.
The Events + Exhibition Coordinator will be primarily responsible for
developing and delivering public programming in the media arts, primarily
video and new media. In addition to producing and curating screenings,
exhibitions, installations, lectures, talks, artist-in-residence
opportunities and special events, the Events + Exhibitions Coordinator also
works together with the Technical + Production Coordinator and Education
Coordinator to plan and coordinate workshops and other educational
opportunities. The Events + Exhibitions Coordinator will participate as a
member of the VIVO operations structure, which functions as a team with
respect to creative and administrative decision-making.


VIVO Media Arts Centre (www.vivomediaarts.com) is a Vancouver-based,
charitable, non profit, artist-run, media arts centre dedicated to providing
access and support for independent media artists and community-based
producers. We focus on the areas of creation, production, training,
education, professional development, distribution and exhibition. We also
provide creative and educational opportunities for artists working in video
and new media, independent, alternative producers, educators, scholars,
critics, curators, community groups/activists and members of the public
interested in the media arts and related contemporary cultural and social
issues.


Responsibilities Include:
Coordinating the Events + Exhibition Committee
Working with the Advisory Committee, other Department staff and other VIVO
departments to establish, implement and maintain appropriate policy, goals,
objectives and contracts
Developing and delivering an annual schedule of events and exhibitions in
the media arts, which involve the research, curation, planning and
coordination of screenings, exhibitions, installations, lectures, talks,
workshops and special events and projects. This also includes related
long-term planning and policy formation
Supporting the coordination of Signal & Noise, our annual Festival of Video
and Sound
The development and maintenance of appropriate and related partnerships and
collaborations in the arts, educational and other social and cultural
community-based groups, for annual, on-going and special projects
Related resource development, budget planning and financial management
including the preparation of budgets, effective financial management, grant
proposal development, writing, and reporting
The development and writing of related promotional and critical material,
calendars, newsletters, catalogues and guides in collaboration with other
VIVO departments
The completion of VIVO’s new branding strategy
Assessment and evaluation of programs and services including related
research
Graphic design and internet skills are an asset


Qualifications:
College or university training in the visual and / or media arts
Excellent oral and written communication skills
Excellent organizational and interpersonal skills
An established knowledge of the media and visual arts and related critical,
social and cultural issues
Proven curatorial or programming experience
Experience working with a non-profit organization, artist-run centre,
gallery, museum or media arts organization
Familiarity with national and international artist-run centres and other,
related organizations and publications
Strong financial and administrative skills
Experience in resource development: writing grants, proposals, critical
texts and promotional materials
Knowledge of basic computer skills and software (MS Word and Excel,
Filemaker Pro, PageMaker)
Ability to work cooperatively and effectively in a not-for-profit,
artist-run environment with a diverse constituent base


The position requires 28 hours a week and requires flexibility for events
taking place in the evenings and weekends. Additional benefits include
access to VIVO workshops, equipment and post-production facilities.


Interested candidates should send their resume and a cover letter to
Katherine Lee, Development Coordinator, VIVO Media Arts Centre, 1965 Main
St. Vancouver, BC, V5T 3C1 or email admin@vivomediaarts.com


The VIVO Media Arts Centre is an equal opportunity employer.


DEADLINE: Wednesday, August 29, 2007
Info: admin@vivomediaarts.com

Job: Calgary Society of Independent Filmmakers seeks a Communications Coordinator

Communications Coordinator


The Calgary Society of Independent Filmmakers (CSIF) is seeking applications
for the position of Communications Coordinator. The Coordinator will be
responsible for the following duties: developing and maintaining an
effective and distinctive visual signature for CSIF in all communications
activities including the web site, newsletter and printed correspondence ;
presenting the CSIF successfully and professionally in all printed and
digital material produced by the organization ; increasing CSIF’s contact
with the community & media through public relations ; maintaining
communication with CSIF members.


The Communications Coordinator acts with the mandate of the Calgary Society
of Independent Filmmakers to present the organization to the public.
Applicants must be well organized, have a strong design background; have
excellent verbal and written communication skills, media relations and
administrative skills including a proven record of successful grant writing.
Applicants must be computer literate, possess good interpersonal and
diplomacy skills, and must be able to work independently as well as a part
of a team. Knowledge of the Canadian media arts, filmmaking and/or
artist-run centres would be an asset.


The position is permanent, full-time (35 hrs / week) with a starting annual
salary of $30,000 – $35,000 depending on experience. There is an
expectation that incumbents will be available to work on Saturdays, and will
attend and support events held outside of regular business hours as needed.
Health benefits are a possibility to be discussed with the successful
applicant.


All applications must include a cover letter, a current resume, and three
letters of reference. Applications will be accepted until Friday Aug. 10,
2007 and can be delivered to the CSIF at Building J2, old Currie Barracks /
Garrison Green during open hours of 10 am – 5 pm, Tuesday - Saturday, or
mailed to J2, 2711 Battleford Ave. SW, Calgary, Alberta, T3E 7L4. Faxed or
e-mailed applications will not be accepted. Late applications will not be
accepted. The CSIF is an equal opportunity employer. Selections will be
made without regard to race, religion, sex, disability, marital status, age,
or national origin.


DEADLINE: August 10, 2007
Info: www.csif.org

Call: Society for Cinema and Media Studies seeks papers on the subject of "design and media"

Dear friends and colleagues:

Below I've pasted in a bulletin board announcement for the March 2008
Society for Cinema and Media Studies conference in Philadelphia,
where the "theme" is design and media.

I'm filling out a panel proposal on "designing musical media," which
I'm hoping will be a productive opportunity to revisit notions of
musicality in the context of media transitions, the analytics of
corporeality, sense, or sensation, and contemporary problems in
biopolitical analysis. I'll leave a proper bibliographic treatment
aside, in the interest of soliciting a wide variety of treatments of
"musicality" on (or as) the audiovisual screen or interface.

The usual "motley cr?e" -- so to write -- of critical approaches are
welcome: historical-empirical; critico-theoretical; cultural; ethico-
aesthetic; political-philosophical; popular cultural; popular music
cultures; gender, sexuality; race, ethnicity; class; globalization;
deconstructive; post-Deleuzian; "new (old) media" or media
transitions; historical-speculative; and also, significantly in this
case, design critique; etc.

The common denominator will be that proposals are centered around the
problematic of musicality, media reception, and "the screen" broadly
understood. And I'm hoping for challenging approaches rather than
conventional ones.

My apologies for cross-posting; and feel free to pass on.

I'd need abstracts/proposals (250 - 1000 words, short bibliography)
by August 10. Note that you'd have to be a member of SCMS by January
2008 in order to participate.

And my email reply info is below.

Warm regards,

James Tobias, Ph.D.
Assistant Professor, Cinema and Digital Media Studies
English Department/Department of Media and Cultural Studies
University of California, Riverside
james.tobias@ucr.edu



Subject: SCMS Bulletin Board Post


Type of Posting: Panel

Proposed Panel/Workshop Subject: Designing Musical Media: From
Biomechanical to Bioinformatic Screens

Organizer Name(s):

James Tobias

E-Mail Address: james.tobias@ucr.edu

Summary: What does it mean to put music on the screen?
From early cinema to contemporary digital media, we observe repeated
efforts at designing the projected image as a musical display. As
varied as they have been challenging, these efforts propose the
musical screen as a device for regulating viewer mood, as visual
music animation, as avant-garde experiment or conceptual
intervention, as commercial spectacle, as critical engagement, as
"immersion," as parody, as television theme-song, as advertisement,
as promotional music clip (in film or video), as musical game, as
playback device, or aesthetic-scientific prototype.
While given short shrift in critiques of narrative or of the avant-
garde, considered as symptomatic of spectacular culture in commercial
production, or written off as unnecessarily duplicating the
soundtrack or attempting to impose attributes of the auditory on the
visual, the design of musical media taken as a problematic rather
than as a margin of artistic or commercial production actually
exhibit three crucial characteristics which allow a re-configuration
of screen studies within contemporary transmedia logics. First,
divorcing the "musical" from the "auditory," musical media designs
question the relationships of perception or cultural context to
technological exhibition; these attempts are often affective and
ethical, as much as technological, interventions in media practices.
Second, designs for musical media point to the complexity of any
"single" medium, so even a "visual" medium becomes multi- or
transmedial, with broad implications for contemporary "convergent"
digital media. Third, across media, musical design as problematic
emphasizes the relations of synchronization necessarily determining
audio, visual, or haptic meaning. In this sense, musical media offer
a rich yet specific account of media situations.
This panel seeks presentations exploring the design of musical media,
whether in the context of the "biomechanics" of early cinema, or the
"bioinformatics" of contemporary digital transmedia. Papers might
explore late 19th and early 20th century devices for the projection
of musical images, visual music animation, narrativized musical
presentation in commercial film or TV, artist video, musical video
games, or MP3 interfaces. How does the media object attempt "musical"
presentation of the visual screen or interface? The goal is to reveal
historical and contemporary problematics of transmedia exhibition and
situational use of synchronized media.

Send individual topics & summaries to organizer(s) by: E-Mail



Bulletin Board Policies - Please Read

1. All chairs/organizers must notify individuals whether bulletin
board submissions have been accepted or rejected by August 15, 2007.

2. All individuals must be registered users of the website before the
proposal process can begin. If you are unsure you have registered or
if you have forgotten your username and password, please contact the
SCMS office at office@cmstudies.org. To avoid duplicate entries and
data errors, please do not re-register.

3. Individuals whose submissions are accepted must provide the
required information for completion of the proposal form to the chair/
organizer prior to September 1, 2007.

4. Chairs/organizers of panels or workshops are responsible for
submitting the entire panel or workshop form by September 1, 2007.

5. SCMS membership is a requirement to participant in the
conference. Chairs/organizers are responsible for notifying panel/
workshop participants (if accepted) that they must be or need to
become a member of SCMS, register for the conference and pay the
registration fee by: January 4, 2008.

6. To request a conference registration fee waiver and/or membership
waiver for any panel or workshop participants, a waiver application
must be completed at the following link:

http://www.cmstudies.org/index.php?
option=com_content&task=view&id=39&Itemid=93

and e-mailed to the SCMS office by September 1, 2007. (Note:
Waiver requests may be granted in exceptional circumstances for
artists, filmmakers, or renowned scholars from other disciplines
whose contributions would illuminate the panel or workshop topic.
Open call participants do not qualify for these waivers).