Call: Madrid Abierto 2009-2010 seeks artists for Public Art debates

MADRID ABIERTO


http://www.madridabierto.com/en

Madrid Abierto 2009-2010 :: Call for Artists of all Nationalities :: Deadline: September 10, 2008.

The Cultural Association, MADRID ABIERTO, announces the start of the presentation of projects period for the 6th edition of its international public art programme which will be held in 2009 and 2010. The programme will hold debate sessions on public art and will generate a series of interventions of an ephemeral or temporary nature in the centre of Madrid, whose authors will mainly be selected through this open call for presentations. A specific call for presentations of sonorous work, which includes collaboration in the audiovisual TV Interventions project, is also announced. PARTICIPATION BASES:

1. Reflecting from the stance of contemporary art practice on cultural, social and political environment, the purpose of this call for applications is to select artists to produce interventions of a temporary or ephemeral nature aimed at contributing to activate the public space. The initiative includes two specific projects for the Casa de América and Círculo de Bellas Artes buildings, which will be incorporated into Madrid Abierto with other invited projects and selected sonorous and audiovisual works.

This edition of Madrid Abierto will be dedicated to emerging practices that critically engage with the urban environment. Madrid Abierto 2009-2010 aim to include a wide variety of practitioners and art forms that establish their strengths in an expanded role, and that work in the social realm of art practice and audience participation. The idea is to produce and show work that connect various disciplines and that opens up for collaborations between, for example, artists, architects, designers, computer programmers, social scientists and urban planners.

For cities to thrive, to be communicative and alive, and to function as catalysers of public life, it is necessary to stimulate civic participation and community involvement. Given the current framework, where society often fail to negotiate some of the most immediate challenges, how can pooling resources such as the ones found in interdisciplinary groups, develop alternative work methods? How can inertia and nostalgia be substituted by visionary and inspiring tools that act as catalysts for change?

2. The programme schedule is as follows:

- Application deadline: until September 10th 2008.
- Selection of artists: until October 31st 2008.
- Preparatory meetings and seminars: February 2009.
- Elaboration of final projects: until April 30th 2009.
- Assessment of projects and installation permits: until June 30th 2009.
- Execution of artistic interventions and transmission of sound and audiovisual works: February 2010.

3. Coinciding with ARCO, the interventions will be take place in February 2010 in Madrid, with some form of presence or reference in the junctions Paseo de la Castellana-Recoletos-Prado and Calle de Alcalá-Gran Vía.

The sound works will be transmitted by Radio 3, Radio Nacional de España in February 2010. Audiovisual works will be presented during this time too.

4. Artists of all nationalities are encouraged to present their applications (except for the Casa de América project, which is open to Latin American artists only), either individually or as a team. In the case of team application, one representative must be appointed.

5. A) Artistic interventions.-Each participant must include:

* Curriculum of no more than 2000 characters with a photocopy of the author or authors’ National Identity Document (or equivalent).

* Description of a project already executed and the draft of a project for Madrid. In both cases no more than 4000 characters.

* A maximum of six sketches or images of the project or draft project in jpg format with a maximum resolution of 72 dpi.

* Description of the technical set up and needs of the draft project.

* Estimated and broken down budget of the draft project, including details of items that could possibly be self-financed.

* All the files must be PC compatible. Files sent from an Apple computer must have adequate extensions (doc, xls, pdf, jpg, tif, etc.).

* Should the above-mentioned information fail to be received in full, the participation will be rejected.

* The maximum budget for each selected artist is 15,000 euros. In all cases this sum includes expenses derived from the preparatory meeting in February 2009, as well as travel, accommodation, production, transport and set up of the intervention in February 2010, the author or authors fees (up to a maximum of 2000 euros) and any applicable taxes.

B) Sound Art.- Each participant must include:

* Curriculum of no more than 2000 characters and a photocopy of the author or authors’ National Identity Document (or equivalent).

* Description of the proposed piece, not exceeding 4000 characters.

* Maximum length of work is10 minutes per author and must be sent on a CD.

* Selected artists will receive 500 euros. A direct master copy of the work will form part of the documentary collection and public archives of Madrid Abierto. The work may possibly be placed on the website, for non-profitable purposes and with prior consent of the authors.

C) Audiovisual work.- The audiovisual work selected in the 2008 and 2009 calls for applications for TV Interventions will form part of the Madrid Abierto 2009-2010 programme in collaboration with Fundación Rodríguez and Centro Cultural Montehermoso (and may be transmitted by Canal Metro). Those selected will receive 500 euros and a direct master copy of the work will form part of the documentary collection and public archives of Madrid Abierto. The work may possibly be placed on the website for non-profitable purposes and with prior consent of the authors.

Audiovisual applications will not be accepted through the Madrid Abierto application procedure.

6. All the proposals must be sent by electronic mail to abierto [at] madridabierto.com prior to September 10th 2008.

7. The advisory committee of Madrid Abierto, presided by Programme Director Jorge Díez and comprised of Cecilia Andersson, Guillaume Dèsanges, Ramon Parramon, Mª Inés Rodríguez, Fito Rodríguez and artist group Democracia, participates in the various phases of this edition. Casa de América and Círculo de Bellas Artes will appoint a representative for the task of selecting each institution’s intervention.

Cecilia Andersson will be this edition’s curator. In collaboration with the advisory committee of Madrid Abierto, she selects the participating artists on the basis of their track record, the quality and viability of the proposals and the total reversibility of the interventions. The organiser may round off the selection with invited artists, up to a maximum of 50% of the total number of selected artists in the open invitation. Since these projects will occupy public spaces, Madrid Abierto will obtain the necessary municipal permits to the set up the interventions.

Should the selected artists use images or elements belonging to third parties, they must provide authorisation of the proprietors for the use of images or extracts in the project.

8. Madrid Abierto reserves the right to publish and reproduce the selected artistic interventions for all purposes associated with the promotion of the programme, and shall incorporate all generated documentation into its documentary collection and public archives. The selected projects and works are the property of the authors and, as the case may be, the promoting institutions shall have a preferential right to purchase them.

9. Participation in this call for applications entails full acceptance of the conditions of entry.

Direction: Jorge Díez
Curator: Cecilia Andersson
Adviser Committee: Cecilia Andersson, Democracia, Guillaume Dèsanges, Jorge Díez, Ramon Parramon, Fito Rodríguez and Mª Inés Rodríguez
Coordinator: RMS La Asociación
Graphic Design: 451
Organize: Asociación Cultural Madrid Abierto
Sponsors: Fundación Altadis, Comunidad de Madrid and Ayuntamiento de Madrid Collaborators: Fundación Telefónica, ARCO, La Casa Encendida, Ministerio de Cultura, RNE3, Canal Metro, Círculo de Bellas Artes and Casa de América

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).

Call: NAISA (New Adventures in Sound Art) seeks audio and video submissions

---------- Forwarded message ----------

New Adventures in Sound Art
2007 Call for Submissions on the theme
"A Sonic Portrait"
Categories: Radio Art, Electroacoustic Music, Videomusic and
Installation Art
Deadline: September 30, 2007
New Adventures in Sound Art (NAISA) invites artists of all ages and
nationalities to submit works on the theme _A Sonic Portrait_ for
consideration in 2008 programming for the annual Deep Wireless, Sound
Travels, and SOUNDplay festivals, produced by New Adventures in Sound
Art in Toronto, Canada. Artists may submit works in one or all of the
following four categories: 1) Radio Art, 2) Electroacoustic Music, 3)
Videomusic and 4) Installation Art (Note: please send separate
submission forms for each entry).

Individual interpretations or variations on the theme are encouraged:
_A Sonic Portrait_ could be a portrait of a person, place or thing
done entirely in sound, an audio journal, a soundscape portrait,
sound mapping, a visualization of a sound and so on.

All submitted works must respond in some way to the theme _A Sonic
Portrait_ in order to be considered for 2008 NAISA programming.

1) Radio Art (for Deep Wireless)

The Radio Art category is for works conceived for radio or that use
radio and other wireless technology in their creation or that plays
with the idea of radio or wireless technology. Works submitted to
this category must be less than 60 minutes in duration. Special
consideration will be given to 1 minute radio art pieces for
broadcast as well as 1 page proposals for collaboration on translocal
broadcast performances.

Pieces will be selected for broadcast within Canada and on several
international radio stations in May 2008 as part of the Deep Wireless
festival of radio and transmission art.

Both Canadian and International radio art submissions will be
considered for inclusion in the following:

-The Deep Wireless 4 radio art compilation CD
-The radio art interventions (1 minute pieces played guerilla-style
on radio stations during the Deep Wireless festival)
-The Radio Art Salon - a listening gallery of radio art works
exhibited for the month of May.

A small number of Canadian artists will be chosen from the
submissions to be part of the Deep Wireless/CBC's Outfront
Commissioning Programme in 2008 with residencies at Charles Street
Video in Toronto.

2) Electroacoustic Music (for Sound Travels)

The Electroacoustic Music category is for multi-channel and stereo
works less than 20 minutes in duration and conceived for concert
performance or presentation in the Sound Travels festival of sound
art on Toronto Island. Preferred formats for performance presentation
include 5.1, octaphonic and 12 channel formats in both acousmatic
(tape), live and mixed formats. Please indicate in the notes the
intended format of presentation and any required instrumentation or
specialized equipment.

3) Videomusic (for SOUNDplay)

The Videomusic category is for works that explore non-narrative
abstraction with equal emphasis on sound and image. Submitted works
will be considered for video screenings with either stereo or multi-
channel playback. Submitted works will also be considered for
screenings in either a performance venue or a small-size gallery
alongside other works selected from this call for submissions.

4) Installation Art (for Deep Wireless, Sound Travels or SOUNDplay)

Installation proposals of previously realized works for site-specific
and gallery installations with no fixed duration will be considered
for presentation as part of Deep Wireless, Sound Travels or
SOUNDplay. Site-specific works can be for indoor or outdoor
locations. Works can use multichannel or single channel playback and
may incorporate any number of media, but must feature original sound
as a primary element. Please attach a list of the necessary equipment
required to mount the installation and which of these items can be
supplied by the artist. Submissions should include audio, video or
audio-video documentation of previously realized versions of the work.

Submission Guidelines

Please submit a completed application form (in digital format if
possible) along with the proposed works on CD or DVD. To download
the submission form please go to opportunities.html#calls>

For multichannel works, please include a stereo reduction for
reference purposes only. For video works, please include a DVD copy
for reference only. Screening masters will be requested later if the
work is to be programmed. For installation works, please attach a
list of required equipment with indications of equipment that can be
supplied by the artist.

Materials not submitted with a self-addressed stamped envelope will
remain in the archives of New Adventures in Sound Art and will not be
returned. Please don't send original copies.

Submissions must be postmarked no later than September 30, 2007 and
mailed to: New Adventures in Sound Art, 401 Richmond Street West
#358, Toronto, ON M5V 3A8.

Nadene Thériault-Copeland
Managing Director
New Adventures in Sound Art

http://www.naisa.ca

Call: Proposals wanted by Dispatx Art Collective about "Appropriation in Creative Practice"

Appropriation in Creative Practice

Call for proposals
Deadline: 23/06/2007



Dispatx Art Collective is now accepting proposals for full-length
collaborative projects related to the theme in exploration,
Appropriation in Creative Practice.

Contemporary artists regularly appeal to theory and philosophy as
justification, premise, or point of departure. More recently some
artists have begun to incorporate theoretical texts as a material for
their work. This treatment of philosophy, as if it were cardboard or
paint, questions perceived boundaries and dependencies between
theoretical idea and creative practice.

How can theoretical ideation and structure be appropriated by
different creative practices? What effect might this have on the
development of work or on the creative method in general? Crucially,
in what ways can ideas themselves be treated as material substances,
rather than as jumping-off points or conceptual armatures, and does
this alter their influence and status?

Full-length projects make up the majority of the Dispatx collections.
The documentation of their development is made fully visible in Make,
allowing site visitors to interact with the project development via
tags, comments, and creating their own private collections. This
means of participation is directed above all at art professionals
interested in a rigorous investigation of creative and curatorial
practice.

For details of the theme and how to collaborate, please visit
www.dispatx.com/submissions/

Oliver Luker - Director
www.dispatx.com
Barcelona, Espana

Site tour:

http://www.dispatx.com/