Von: Dietzsch Christel
Betreff: Nachtstrom 62 mit Paulo Ferreira-Lopes
Datum: 20. Januar 2013 12:59:37 MEZ

NACHTSTROM 62

Das Elektronische Studio präsentiert ein Porträtkonzert von und mit Paulo Ferreira-Lopes.
Der portugiesische Komponist zeigt einige Solo-Werke mit Live-Elektronik sowie ein neues Streichquartett.

http://www.esbasel.ch/veranstaltungen/nachtstrom-62/

Donnerstag, 24. Januar 2013
21.00 Uhr, Gare du Nord

Wir freuen uns auf Euch/Sie!

Fachhochschule Nordwestschweiz / Musik-Akademie Basel
Musikhochschulen
Hochschule für Musik – Elektronisches Studio

www.esbasel.ch

————————————

Von: Åsa Stjerna
Datum: 20. Januar 2013 23:37:07 MEZ

The Embassy Reconstructed – a sonic investigation of the phenomenon „the Embassy“
by six artists, with the support of a chamber music ensemble.
Nordic Embassies, Berlin 27.1 – 3.2. | transmediale Resource 003: P2P Vorspiel

Can diplomacy be interpreted and presented in sonic form?
How is the act of conflict management interpreted through the arts?
What are the sonic characteristics of “the Embassy”?

The Embassy Reconstructed is an arts-based exploration of “the Embassy” as a phenomenon.
initiated by the Swedish artist Åsa Stjerna. Taking the contemporary arts’ expanded notion of space as its point of departure, six artists, whose artistic practices approach and address sound and spatiality from a vast range of perspectives, explore how sound as an artistic medium in its broadest form gives shape to, and interprets, an international, political space where highly current societal events are in constant negotiation.

With: Brandon LaBelle, Jacob Kirkegaard, Juliana Hodkinson, Liv Strand, Susanne Skog, Åsa Stjerna
and KNM, Kammerensemble Neue Musik, Berlin

Opening: 27th of January 5 pm to 8 pm

Free entrance but RSVP to mareike.roper@gov.se – Bring passport!
Anmeldung erforderlich bei mareike.roper@gov.se – Bitte Ausweis mitbringen!

For detailed programme: www.embassyreconstructed.com

Exhibition: 28th of January until 3rd of February
Monday to Friday: 10 am to 6 pm
Weekend: 11 am to 4 pm

Panel:
February 2nd, 2 pm to 3.30 pm
„Represensations: sensing sounding representing“
Participators include contributing artists and Marika Lagercrantz, Counselor for Cultural Affairs, at the Swedish Embassy in Berlin.
The conversation will be moderated by Catharina Gabrielsson, architect, cultural critic and researcher.

Felleshus, Nordic Embassies, Rauchstr. 1, 10787 Berlin-Tiergarten, www.nordischebotschaften.org
www.embassyreconstructed.com
www.nordischebotschaften.org/kontakt
www.transmediale.de

Supported by: Swedish Embassy, Danish Embassy,
EMS – the Electronic Music Studio in Stockholm,
Statens Musikverk (Music Development and Heritage Sweden),
Statens Kunstfond (Arts.Dk) and Fox Engineering, Berlin.

————————————

From: Stephen D Beck
Subject: Job Opportunity in Computer Music & Digital Media
Date: 2013 January 15 9:15:56 PM EST

I want to inform you of a job opportunity in computer music and digital media now open at LSU. We are looking to hire an Assistant Professor in the Experimental Music & Digital Media area at the LSU School of Music. This position is a joint appointment between the School of Music & the Center for Computation & Technology (CCT). The successful candidate will have an appointment within the Cultural Computing focus area at CCT.

Priority Deadline for applications is February 15, 2013.

Thanks.
Steve

https://lsusystemcareers.lsu.edu/applicants/Central?quickFind=55693

Job Summary/Responsibilities:

Teach courses at the University level within the EM/DM program, including those aligned with the undergraduate Digital Media minor, and forthcoming Digital Media Arts & Engineering graduate program in the College of Engineering; other duties include attracting extramural funding and work with interdisciplinary teams that include faculty, doctoral students, post-docs and research associates; participate in other educational and professional tasks of the Department and the University.

Required Qualifications:

DMA, PhD or equivalent degree within their discipline, and the capacity to build distinguished records of research accomplishments, performances and publications, as well as a strong reputation in their disciplines; the candidate’s field of interest must include one or more of the following:

– Electroacoustic music composition
– Musical Robotics
– Music Informatics
– Interactive Music Systems
– Auditory Display
– Sound Diffusion Systems

Desired Qualifications:

Ability to build interdisciplinary research teams that complement existing strengths among the faculty and community.

Closing Date: Open Until Filled
Special Instructions to Applicants: Candidates should electronically submit a letter of application, curriculum vitae and three professional references including name, title, phone number and e-mail address. Candidates should also have three letters of recommendation sent by e-mailed to: Dr. Stephen David Beck at sdbeck@lsu.edu. Candidates should send copies of recent recording(s) to:

Dr. Stephen David Beck, Director
LSU School of Music
Attn.: EM/DM Search, Reference #000663
102 New Music Building
Baton Rouge, LA 70803-2504

A copy of your transcript(s) may be attached to your application (if available). However, original transcripts are required prior to hire.
Additional Position Information: The College of Music & Dramatic Arts is a performing arts community that trains, cultivates, prepares, and rewards excellent artists, educators, scholars, and performers–fostering passion for the arts, collaboration, and the creation of new works. We engage with our community, heightening our collective ability to communicate with expressive power and purpose. LSU is a national flagship institution with world-class intellectual and creative resources. Located in a dynamic city situated on the Mississippi River, Baton Rouge represents the best of Louisiana’s vibrant, evocative and diverse culture. The state capital, Baton Rouge is a thriving city that is home to both LSU and Southern University and numerous businesses and industrial facilities, with a metropolitan area population of over 700,000.

The LSU School of Music offers a comprehensive music program with nearly 500 majors. It has over 50 faculty, 10 professional staff, and 75 graduate assistants. It sponsors nearly 300 recitals, concerts, operas, and lectures each academic year. Degrees offered include the PhD (with concentrations in composition, music education, musicology, and music theory), DMA (concentrations in choral conducting, performance, wind conducting), MM, BM, BME, and BA (Liberal Arts).

LSU has an enrollment of nearly 30,000 students and is located in Baton Rouge, the state capital of Louisiana and a city with a metropolitan area population of approximately 500,000. The city supports a vibrant performing arts scene, including: symphony orchestra, several dance companies, various eclectic concert series, and a professional theatre.

Salary will be commensurate with qualifications and experience. The appointment will be a joint appointment with Center for Computation & Technology. An offer of employment is contingent on a satisfactory pre-employment background check. Screening will begin immediately, and will continue until the position is filled. For full consideration, please submit materials by February 15, 2013. Appointment begins in August 2013.

LSU offers outstanding benefits to eligible employees and their dependents including health, life, dental, and vision insurance; flexible spending accounts; retirement options; sick leave; paid holidays; wellness benefits; training and development opportunities; employee discounts; and more!
EEO Statement: THE LSU SYSTEM IS AN EQUAL OPPORTUNITY/EQUAL ACCESS EMPLOYER

Stephen David Beck, Ph.D.
Derryl and Helen Haymon Professor of Music
Director, School of Music
Louisiana State University
Baton Rouge, LA. 70803

http://www.music.lsu.edu

O: 225-578-2594
C: 225-223-0344
skype/iChat: sdbeck

————————————

Von: „Rossiter, Martine Louise“
Betreff: SSSP 2013 – Call for Participation
Datum: 14. Januar 2013 15:00:17 MEZ

Sound, Sight, Space and Play (SSSP) – Call for participation
5th-7th June 2013

We would like to invite you to take part in Sound, Sight, Space and Play (SSSP) 2013, a conference for postgraduate students working in the creative sonic arts, organised by postgraduate students of the Music Technology and Innovation Research Centre (MTIRC), De Montfort University. The ideals of this event are to stimulate co-operation and inspiration between postgraduate students, across institutional boundaries and disciplines, leading to new perspectives on current works and research. We encourage submission of papers and creative work, both completed and in-progress, individual or in groups, for presentation over the course of the event.

Event Topics
We invite paper submissions on topics related to creativity in the sonic arts including, but not restricted to:
– Sound Diffusion
– Acousmatic composition
– Multi Channel Approaches to Composition and Sound Projection
– Installations
– Interactivity
– Audio-Visuals and Media
– Sound design
– Electronics and Circuit Bending
– Performance Practice
– Education and the sonic arts
– Theoretical Implications of the above

Registration Fees
There will be a charge of £35 (early bird rate) or £45 registration fee, per delegate or attendee, in order to cover the costs of the event. There is NO fee for submission. Registration fees would be payable by latest May 2013.

Guidelines for Submission of Papers and Works

General: All submissions will be subject to a double-blind peer-review procedure conducted by PhD students or post docs from different institutions representing the various sub-disciplines of sonic arts and related fields. Talk abstracts should be submitted as a Word document (accepted formats are .rtf, .doc or .txt, no .pdf) via email to dholland@dmu.ac.uk. Submissions must not exceed 300 words in length including a title, headings and references. Your submission must include also your name, affiliation, email address as well as a 200 word biography. Please note that attendance is preferred and you should state on your application whether you will be attending.

Postal applications should be sent to:

SSSP 2013, MTIRL (Cl 0.19), Clephan Building, De Montfort University, Leicester, LE1 9BH, United Kingdom

Papers: The duration of each standard presentation slot will be 20 minutes followed by a 10-minute formal question period. Keynote presentation slots, lasting 40 minutes with 10 minutes question time, will be awarded to submissions of excellence. Between sessions there will be breaks for informal questions and discussion. We offer the possibility of online publication for papers on a voluntary basis. You will receive more information about the publication after acceptance of the submission. Multimedia support will be provided for talks in the form of video projector, laptop and quad speaker system.

Works: Should be no longer than 20 minutes in duration and can be submitted either on physical media (e.g. CDs/DVDs) via post, or online via file sharing services such as YouSendIt (http://www.yousendit.com) or Dropbox (http://www.dropbox.com). Please make digital submissions and programme notes supporting creative work available to louise.rossiter1@gmail.com. Submissions must be accompanied by technical specifications and requirements (Channel configuration, sample rate, additional information). Works will be performed in the Performance Arts Centre of Excellence (PACE) Building at De Montfort University on the MTIRC’s multi speaker diffusion system. Concert and installation slots are limited and as a result we are only able to accept one submission per person.

Deadline: The deadline for abstract submissions is 1st February 2013. The review committee will evaluate applications and the results will be sent in March. A detailed timetable will be available on our website shortly.

Further Contact Information
Questions relating to paper submissions and general information should be directed to
David Holland: dholland@dmu.ac.uk

Questions relating to concert and installation submissions and finances should be directed to
Louise Rossiter: louise.rossiter1@gmail.com
Weiwei Jin: doublewei.jin@gmail.com

Sound, Sight, Space and Play
Music, Technology and Innovation Research Centre,
Faculty of Humanities, Clephan Building
De Montfort University,
Leicester, LE1 9BH

Thanks,
Louise Rossiter

On behalf of the SSSP 2013 Organising Committee.

————————————

From: PyoungRyang Ko
Date: Sun, Jan 13, 2013 at 6:36 AM

The Korean Electro-Acoustic Music Society’s 2013 Annual Conference & its Computer Music Journal, Emille, present:

Call for Proposals

The Korean Electro-Acoustic Music Society (KEAMS) is pleased to announce a call for proposals for the 2013 KEAMS annual Conference and its journal Emille. KEAMS was formed to promote active research and discussion on electro-acoustic and computer music, and will hold the this year’s conference during the Seoul International Computer Music Festival (SICMF 2013: http://www.computermusic.or.kr/ ) from October 29th to November 2nd, 2013. Selected papers from the conference will be published inEmille Vol. 11 (December, 2013). If you want your paper or workshop idea to be considered for the 2013 KEAMS Conference, please send an abstract or proposal (maximum of 2,000-characters including spaces) and curriculum vitae as PDF documents to .

Category of Topics
For the KEAMS conference, the following topics are encouraged:
a) Creative Encounters between Music and Science
b) Multidisciplinary or Interdisciplinary Research (co-authors acceptable)
c) Systematic Musicology (Computational Musicology, Computational Music Theory)
d) Analysis of Electronic and Computer-based Music
e) Sound Synthesis
f) Music Psychology
g) Instrumentation
h) Development of electronically-extended Musical Instruments
i) Music Software Engineering
j) Artificial Musical Intelligence
k) Computer-aided Composition/Analysis
l) Automatic Composition
etc.

Important Dates
– Deadline for Proposal Submission: January 31, 2013
– Notification of Acceptance of the Proposal: March 1, 2013
– Deadline for Paper Submission before Conference: August 31, 2013
– Conference: November 1-2, 2013
– Notification of Selected Paper for the Journal Emille: November 5, 2013
– Deadline for Final Paper Submission: November 30, 2013

SESSION FORMATS
Each session will consist of up to four presentations. Each paper will be presented in person for about 25 minutes followed by ca. 5 minutes of discussion. If you want to give a keynote presentation, you will be given about 50 minutes to present, followed by ca. 10 minutes of discussion. Please include the word keynote in your submission if you are planning on applying for a keynote presentation. The length of each workshop will be about 90 minutes. Video conferencing over the Internet is also available.

Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone’s entry.

As demonstrated by the following examples, participants may submit more than two proposals, making a whole presentation session or an additional workshop session:

Example 1: Presentation Session Plan *
Session Sample topic: Spatialization
(4 x 30 min. = 25 min. presentation + 5 min. Q&A)
Presentation 1 Spatialization methods using less than 8 channels
Presentation 2 An overview of the design of a Loudspeaker Orchestra
Presentation 3 Applications of Ambisonics and Spherical Acoustics
Presentation 4 A proposal of multi-3D audio reproduction system for the multi-functional concert hall
* You may submit several proposals without a session plan.

Example 2: Workshop Session Plan **
Session Sample topic: Using controllers for composition and acoustic installations
(3 X 90 min.)
Workshop 1 Controllers using various sensors and Arduino
Workshop 2 Use of Smartphones and Tablet PCs as controllers
Workshop 3 Inter-application uses of Controllers
(Using Processing to Control Csound, MaxMSP, PD and SuperCollider)
** You may submit a single proposal for a workshop. You also may submit multiple proposals for individual workshops without a session plan.

Fees
Thanks to funding from the Korean Arts Council, the registration fee and publication fee will be waived.

It is also possible for students and non-experts in the fields mentioned above to submit proposals for the conference and the journal, Emille. All proposals will be screened by the program committee and selected solely based on the quality of the research and topic.

Your ideas are critical in making the conference and Emille enriching, important and substantial. We look forward to reviewing everyone’s entry.

Emille, the Journal of the Korean Electro-Acoustic Music Society
http://www.keams.org/emille/

Editorial Information

Committee Chair / Editor in Chief
Lymn, Young-Mee
Lecturer of Electro-Acoustic Music (EAM) & Music Theory (MTh) at Hanyang University etc.

Committee / Editor
Ko, PyoungRyang
Lecturer of MTh & EAM at Seoul National University, Sookmyung Women’s University etc.

Committee / Editorial Board

Breitenfeld, Roland
Professor of Composition and Electronic Music at Seoul National University

Chang, Jaeho
Professor of Music Technology at Korea National University of Arts

Cho, Jinok
Lecturer of MTh at Seoul National University, Chung-Ang University etc.

Cho, Youngmi
Lecturer of EAM & MTh at Pyeongtaek University etc.

Dudas, Richard
Professor of Composition and Computer Music at Hanyang University

Eckert, Gerald
Professor of Composition at Chung-Ang University

Kim, Han Shin
Lecturer of EAM at Sookmyung Women’s University etc.

Kim, Jin-Ho
Professor of Composition, Computer Music and Musicology at Andong National University

Lee, Byung-moo
Lecturer of Composition, MTh & EAM Music at Chugye University for the Arts etc.

Lee, Kyogu
Professor of Music Information Retrieval, Music DSP at Seoul National University

Moon, Seong-Joon
Professor of Composition at Chugye University for the Arts

Nam, Unjung
Professor of Computer Music at Baekseok Arts University

Parks, Kevin
Professor of Composition and Computer Music at the Catholic University of Daegu

Shin, Seonga
Professor of Composition at Keimyung University

Sigman, Alexander
Professor of Composition at Keimyung University

Yeo, Woon Seung
Professor of Audio visual art, New Musical Interface, Mobile Orchestra and Music DSP at Korea Advanced Institute of Science and Technology (KAIST)

Yim, Jongwoo
Professor of Composition at Hanyang University

Committee / Editorial Advisory Board

Ahn, Doo-jin
Professor of Composition at Hanseo University

HWANG, Sung Ho
Professor of Composition at Korea National University of Arts

Lee, Donoung
Professor of Composition at Seoul National University

Cho, Wonhyong
Researcher at the National Institute of the Korean Language

————————————

Von: Martin Supper
Betreff: Sound Studies Lecture No37
Datum: 14. Januar 2013 14:47:22 MEZ

Liebe Freunde der Sound Studies,

ich freue mich sehr, Ihnen die nächste Sound Studies Lecture ankündigen zu können:

Montag – 21. Januar 2013 – 19:00 Uhr

Maximilian Marcoll
QUINCE

new kinds of modular music editing

quince introduces a new working paradigm that is independent from traditional technologies as the tape recorder and the mixing desk. In the course of the talk, M.Marcoll will explain the basic aesthetical concepts that lead to the development of quince and will present the design and the possibilities of his software.

creative use of software
old and new paradigms
what is quince?
the structure of quince
technical details
hands on: use case examples
diy: extending quince

quince is a program for editing time based data on the mac. Although quince was developed to serve musical purposes, theoretically, not only audio but video and every other time based data type can be edited in quince. Generally speaking, the main application for quince is the creation and editing of sequences of events in time.

The biggest difference between quince and the standard daw is that quince does not operate in the ‚tape recorder vs mixing desk‘-paradigm. In quince there are no channels in which audio data is arranged, and since there are no channels, there also is no need for a mixer to mix them. Instead, quince presents it’s contents in display strips which can contain arbitrary numbers of layers of data of any kind.

It’s flexible plug-in based structure allows for quince to be used in a great variety of applications from complex hierarchical event operations to graphical csound score editing to the translation into standard musical notation. furthermore, the api for creating custom quince plug-ins is kept small and powerfull, so that developing your own plug-ins for quince is pretty straight forward.

Maximilian Marcoll (*1981) studierte Schlagzeug, instrumentale und elektronische Komposition in Lübeck und Essen, lebt in Berlin. In seiner Werkreihe „Compounds“ (seit 2008) beschäftigt er sich mit der Transkription konkreter, meist aus dem persönlichen Alltag stammender Klänge und der Verbindung von Klangverläufen zu einem stückunabhängigen Material-Netzwerk. Teil der kompositorischen Arbeit ist auch die Entwicklung von Software, 2010 erfolgte die Veröffentlichung des Editors „quince“.
M.Marcoll ist Mitglied der Künstlergruppe stock11. Er lehrt in Düsseldorf und Berlin.

Maximilian Marcoll (*1981) studied percussion, instrumental and electronic composition in Lübeck and Essen, Germany. He lives in Berlin. In his series „Compounds“ (since 2008) he focusses on the transcription of concrete sounds, mostly recorded in everyday life situations, and the creation of a material network, on which the pieces of the series are based. The development of software also is a part of his compositional activities. In 2010, the software quince was released.
M.Marcoll is a member of the artist group stock11. He teaches in Berlin and Düsseldorf.

Was sind Sound Studies Lectures?
Die öffentlichen Sound Studies Lectures geben einen Einblick in die künstlerischen, wissenschaftlichen, gestalterischen und konzeptuellen Fragestellungen des postgradualen Masterstudiengangs Sound Studies.

Der Studiengang Sound Studies verfolgt die Idee eines fachübergreifenden und damit fächerverbindenden Studiums des Klangs. Ein Studium jenseits eines Musikstudiums, das aber dennoch die Musik nicht ausschließt, ist neu und einzigartig. Der Begriff Sound Studies ist angelehnt an den mittlerweile etablierten Terminus Cultural Studies: http://www.udk-berlin.de/soundstudies

Universität der Künste Berlin
Masterstudiengang Sound Studies
Berlin Career College
Lietzenburger Straße 45 – Raum 314
Berlin-Wilmersdorf
(U3/U9 Spichernstraße)

Mit herzlichen Grüßen
Prof. Dr. Martin Supper
– Studiengangsleiter –

————————————

From: Bill Brunson

Sound Science, Sound Experience!
Sound and Music Computing Conference 2013
Stockholm, Sweden • 30 July – 3 August 2013

The Sound and Music Computing Conference 2013 will be jointly hosted by the Sound and Music Computing Research Group at the Royal Institute of Technology
(KTH) and The Department of Composition, Conducting and Music Theory at The Royal College of Music (KMH) in Stockholm. This year SMC will be held in parallel
with the Stockholm Musical Acoustics Conference 2013. Arranged only once every ten years, the latter conference exerts a strong attraction on music acoustics
researchers worldwide and has become a milestone event for the latest decade of music acoustics.

Call for Music
Based on this year’s theme Sound Science, Sound Experience three approaches to the call for music are proposed. The first focuses on the voice, the most intimate
vehicle for producing sound that we, as humans, know. Secondly, the practice of spatialisation delineates both a space itself as well as our relationship to a given
space and other sounding entities or objects within it. The third thematic thread – audio-visual composition – acknowledges the widespread intermedial tendencies in
the digital arts where the senses of sight and hearing commingle.

We invite submissions of original compositions in the following areas:

Electroacoustic Music – Vocal Theme
• Original works in „mixed“ format for either solo voice or combinations of voices drawing upon a SATB quartet and either fixed media or live-electronics.
• Original works of fixed media / live-electronics which feature vocal materials!

Electroacoustic Music – Spatialization Theme
• Original works for electroacoustic music in either fixed media and/or liveelectronics that feature spatialization sound practices.

Intermedia – Audio-Visual Composition Theme
• Original digital works that bring together audio and visual images.
• Works are intended to be performed in a concert situation, i.e. not as installations.

SMC 2013 will include three concerts. All concert events will be held at The Royal College of Music. Our intention is to organize the concerts on an integrated basis
where works from the different thematic threads are mixed together.

http://www.speech.kth.se/smac-smc-2013/
Deadline for music submissions:Friday 29 March 2013
Notification of paper and music acceptance: Wednesday 15 May 2013

————————————

From: Bill Brunson

Sound Science, Sound Experience!
Sound and Music Computing Conference 2013
Stockholm, Sweden • 30 July – 3 August 2013

The Sound and Music Computing Conference 2013 will be jointly hosted by the Sound and Music Computing Research Group at the Royal Institute of Technology
(KTH) and The Department of Composition, Conducting and Music Theory at The Royal College of Music (KMH) in Stockholm. This year SMC will be held in parallel
with the Stockholm Musical Acoustics Conference 2013. Arranged only once every ten years, the latter conference exerts a strong attraction on music acoustics
researchers worldwide and has become a milestone event for the latest decade of music acoustics.

Call for Music
Based on this year’s theme Sound Science, Sound Experience three approaches to the call for music are proposed. The first focuses on the voice, the most intimate
vehicle for producing sound that we, as humans, know. Secondly, the practice of spatialisation delineates both a space itself as well as our relationship to a given
space and other sounding entities or objects within it. The third thematic thread – audio-visual composition – acknowledges the widespread intermedial tendencies in
the digital arts where the senses of sight and hearing commingle.

We invite submissions of original compositions in the following areas:

Electroacoustic Music – Vocal Theme
• Original works in „mixed“ format for either solo voice or combinations of voices drawing upon a SATB quartet and either fixed media or live-electronics.
• Original works of fixed media / live-electronics which feature vocal materials!

Electroacoustic Music – Spatialization Theme
• Original works for electroacoustic music in either fixed media and/or liveelectronics that feature spatialization sound practices.

Intermedia – Audio-Visual Composition Theme
• Original digital works that bring together audio and visual images.
• Works are intended to be performed in a concert situation, i.e. not as installations.

SMC 2013 will include three concerts. All concert events will be held at The Royal College of Music. Our intention is to organize the concerts on an integrated basis
where works from the different thematic threads are mixed together.

http://www.speech.kth.se/smac-smc-2013/
Deadline for music submissions:Friday 29 March 2013
Notification of paper and music acceptance: Wednesday 15 May 2013

————————————

Von: Graham Wakefield
Datum: 14. Januar 2013 09:44:09 MEZ

Apologies in advance for cross-posting.

* This is a reminder that the deadline for NIME submissions is February 1, 2013.

13th International Conference on New Interfaces for Musical Expression (NIME)
May 27-30, 2013, Daejeon + Seoul, Korea Republic

Conference website: http://www.nime2013.org
Submission: https://www.softconf.com/d/nime2013/
Facebook: http://www.facebook.com/Nime2013

CALL FOR PARTICIPATION

On behalf of the NIME 2012 Committee, We would like to invite you to be part of the 13th international conference on New Interfaces for Musical Expression conference.

We invite submission of new works in the following categories:

– Paper (oral/poster/demo)
– Performance
– Installation
– Workshop

Important dates:

– Paper/performance/installation submissions and workshop proposals due: February 1, 2013
– Review notification: March 16, 2013
– Camera-ready paper deadline: April 21, 2013

Topics include (but are not limited to):

– Novel controllers and interfaces for musical expression
– Novel musical instruments
– Augmented/hyper instruments
– Novel controllers for collaborative performance
– Sensor and actuator technologies
– Haptic and force feedback devices
– Motion, gesture and music
– Interfaces for dance and physical expression
– Multimodal expressive interfaces
– Interfaces for hearing or visually impaired for musical expression
– Interactive game music
– NIME intersecting with game design
– Robotic music
– Mobile music technology and performance paradigm
– Biological and bio-inspired systems
– Musical mapping strategies
– Interactive sonification
– Interactive sound and multimedia installations
– Musical human-computer interaction
– Interactivity design and software tools
– Interface protocols and data formats
– Sonic interaction design
– Perceptual and cognitive issues
– Performance analysis
– Performance rendering and generative algorithms
– Machine learning in performance systems
– Experiences with novel interfaces in live performance and composition
– Surveys of past work and stimulating ideas for future research
– Historical studies in twentieth-century instrument design
– Artistic, cultural, and social impact of NIME technology
– Experiences with novel interfaces in education and entertainment
– Reports on student projects in the framework of NIME related courses
– Practice-based research approaches/methodologies/criticism

Call for Papers

We welcome submissions of original research on all above-mentioned (and other) topics related to development and artistic use of new interfaces for musical expression. There are three different paper submission categories:

– Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)
– Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)
– Demonstration (up to 2 pages in proceedings)

Submitted papers will be subject to a peer review process by an international expert committee. All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be available online after the conference. A manuscript submitted for review cannot be already under review for publication elsewhere, or be submitted for a second review elsewhere while under review for NIME 2013.

Call for Performances

We welcome submission of proposals for performances. Proposed performances should have a clear connection with the substance of the NIME conference. Performance proposals in conjunction with paper submissions are encouraged, but each will be judged on its own merit. Within reasonable limits, we may be able to provide musicians to perform pieces. Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may also be taken into consideration.

Submitted proposals will be reviewed by an expert committee. Preference will be given to submissions with strong evidence that the proposed performance has already been realized or is technically feasible and within the artists‘ capabilities. Documentation of the performances will be available online after the conference.

Call for Installations

NIME 2013 will also provide several locations that can be used to exhibit new music installation work. These are foyer location installations or room-based installations in connection to the conference venues.
Submitted proposals will be subject to a peer review process by an international expert committee. Documentation of the installations will be available online after the conference.

Call for Workshops

We call for short (3 hours) or long (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.

Tutorial proposers should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.

For any further information, please contact Woon Yeo (woony@kaist.edu).

————————————

Von: Graham Wakefield
Datum: 14. Januar 2013 09:44:09 MEZ

Apologies in advance for cross-posting.

* This is a reminder that the deadline for NIME submissions is February 1, 2013.

13th International Conference on New Interfaces for Musical Expression (NIME)
May 27-30, 2013, Daejeon + Seoul, Korea Republic

Conference website: http://www.nime2013.org
Submission: https://www.softconf.com/d/nime2013/
Facebook: http://www.facebook.com/Nime2013

CALL FOR PARTICIPATION

On behalf of the NIME 2012 Committee, We would like to invite you to be part of the 13th international conference on New Interfaces for Musical Expression conference.

We invite submission of new works in the following categories:

– Paper (oral/poster/demo)
– Performance
– Installation
– Workshop

Important dates:

– Paper/performance/installation submissions and workshop proposals due: February 1, 2013
– Review notification: March 16, 2013
– Camera-ready paper deadline: April 21, 2013

Topics include (but are not limited to):

– Novel controllers and interfaces for musical expression
– Novel musical instruments
– Augmented/hyper instruments
– Novel controllers for collaborative performance
– Sensor and actuator technologies
– Haptic and force feedback devices
– Motion, gesture and music
– Interfaces for dance and physical expression
– Multimodal expressive interfaces
– Interfaces for hearing or visually impaired for musical expression
– Interactive game music
– NIME intersecting with game design
– Robotic music
– Mobile music technology and performance paradigm
– Biological and bio-inspired systems
– Musical mapping strategies
– Interactive sonification
– Interactive sound and multimedia installations
– Musical human-computer interaction
– Interactivity design and software tools
– Interface protocols and data formats
– Sonic interaction design
– Perceptual and cognitive issues
– Performance analysis
– Performance rendering and generative algorithms
– Machine learning in performance systems
– Experiences with novel interfaces in live performance and composition
– Surveys of past work and stimulating ideas for future research
– Historical studies in twentieth-century instrument design
– Artistic, cultural, and social impact of NIME technology
– Experiences with novel interfaces in education and entertainment
– Reports on student projects in the framework of NIME related courses
– Practice-based research approaches/methodologies/criticism

Call for Papers

We welcome submissions of original research on all above-mentioned (and other) topics related to development and artistic use of new interfaces for musical expression. There are three different paper submission categories:

– Full paper (up to 6 pages in proceedings, longer oral presentation, optional demo)
– Short paper/poster (up to 4 pages in proceedings, shorter oral presentation or poster, optional demo)
– Demonstration (up to 2 pages in proceedings)

Submitted papers will be subject to a peer review process by an international expert committee. All accepted papers will be published in the conference proceedings, under an ISSN/ISBN reference, and will be available online after the conference. A manuscript submitted for review cannot be already under review for publication elsewhere, or be submitted for a second review elsewhere while under review for NIME 2013.

Call for Performances

We welcome submission of proposals for performances. Proposed performances should have a clear connection with the substance of the NIME conference. Performance proposals in conjunction with paper submissions are encouraged, but each will be judged on its own merit. Within reasonable limits, we may be able to provide musicians to perform pieces. Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may also be taken into consideration.

Submitted proposals will be reviewed by an expert committee. Preference will be given to submissions with strong evidence that the proposed performance has already been realized or is technically feasible and within the artists‘ capabilities. Documentation of the performances will be available online after the conference.

Call for Installations

NIME 2013 will also provide several locations that can be used to exhibit new music installation work. These are foyer location installations or room-based installations in connection to the conference venues.
Submitted proposals will be subject to a peer review process by an international expert committee. Documentation of the installations will be available online after the conference.

Call for Workshops

We call for short (3 hours) or long (6 hours) workshops and tutorials. These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. They can also be targeted towards visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME.

Tutorial proposers should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops and tutorials can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.

For any further information, please contact Woon Yeo (woony@kaist.edu).

————————————

From: „Phillips, Mark“
Subject: new versions of Max6 tutorials for beginning students
Date: 2013 January 12 11:47:38 AM EST

If you teach a beginning Max class … or if you are a student just beginning to learn Max … you may be interested in these.

Ma(r)xTutorials
new version — updated and significantly expanded — is a set of Max tutorials for beginners. It contains a collection of simple patches, useful Max/MIDI “tools,” plus small demo and example patches aimed primarily at students just beginning to learn Max. The tutorials cover only Max (no MSP or Jitter modules). The patches are all pretty well documented, and provide a lot of “instant gratification,” since users can immediately interact with the patches and make “noise” with them. They are intended to supplement the tutorials that come with the program.

E-A_MusicPrimer
I also completed a Max6 update to my „venerable“ E-A_MusicPrimer.

Check out both at either of the links below.
http://www.ohio.edu/people/phillipm/#MaxMSPresources
http://cycling74.com/project/e-a_musicprimer5/

m.p.

Mark Phillips http://www.ohio.edu/people/phillipm/
http://www.coolvillemusic.com
http://www.myspace.com/coolvillemusic

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Von: „Johannes S. Sistermanns“
Betreff: Broken Beethoven – radiophone Hörstücke
Datum: 12. Januar 2013 11:54:55 MEZ

hr2 K u l t u r

Samstag, 12. Januar 2013, 23:05 Uhr

Broken Beethoven
Radiophone Hörstücke

hans w. koch: unheiliger undankgesang
Wolfgang Liebhart: Bazaar Viennoise
Alper Maral: 1-32
Johannes S. Sistermanns: Ludwig japonaise
Andreas Wagner: Manga
Harald Muenz: BeethovEnBloc

Livestream online + Info:
http://www.hr-online.de/website/radio/hr2/index.jsp?rubrik=53529&key=standar
d_document_34273016

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Von: „Johannes S. Sistermanns“
Betreff: Broken Beethoven – radiophone Hörstücke
Datum: 12. Januar 2013 11:54:55 MEZ

hr2 K u l t u r

Samstag, 12. Januar 2013, 23:05 Uhr

Broken Beethoven
Radiophone Hörstücke

hans w. koch: unheiliger undankgesang
Wolfgang Liebhart: Bazaar Viennoise
Alper Maral: 1-32
Johannes S. Sistermanns: Ludwig japonaise
Andreas Wagner: Manga
Harald Muenz: BeethovEnBloc

Livestream online + Info:
http://www.hr-online.de/website/radio/hr2/index.jsp?rubrik=53529&key=standar
d_document_34273016

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Von: „Straebel | TU Berlin“
Betreff: [ak-events] 17.01. – Henrik von Coler / Wellenfeldsynthese
Datum: 11. Januar 2013 18:17:44 MEZ

EM Hören am Donnerstag, 17.01.2012 | 18:00 c.t.
www.ak.tu-berlin.de/emhoeren

WellenFeld H104, TU Hauptgebäude
www.ak.tu-berlin.de/menue/forschung/forschungsprojekte/wellenfeldsynthese/

Henrik von Coler, der am Fachgebiet Audiokommunikation als Tutor das Wellenfeldsynthese-System betreut, stellt seine improvisierten Werke für Studio-Elektronik und Wellenfeldsynthese vor.
http://intelligent-noise-solutions.de/

ACHTUNG: Abweichender Ort
TU Hauptgebäude | WellenFeld H104
Straße des 17. Juni 135 | Berlin

U-Bahn Ernst-Reuter-Platz
S-Bahn Tiergarten

TU Berlin | Elektronisches Studio
Fachgebiet Audiokommunikation
www.ak.tu-berlin.de/studio

Elektroakustische Musik hören ist eine Veranstaltungsreihe des Elektronischen Studios der TU Berlin. Während des Semesters jeweils donnerstags um 18:00 Uhr.

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Von: Eric Leonardson
Betreff: Call for Papers, SOUND SPACES CONFERENCE Madrid
Datum: 11. Januar 2013 17:00:17 MEZ

INTERNATIONAL CONFERENCE:
SOUND SPACES AND AUDIOVISUAL SPACES: CREATION, REPRESENTATION AND DESIGN.
JIEM 2013 19th COMPUTER AND ELECTRONIC MUSIC DAYS
12th-15th MARCH 2013, Universidad Autónoma de Madrid (UAM), Spain

This conference seeks to offer a forum of wide and deep debate around the concept of sound space sharing knowledge between temporary arts and spatial arts. The objective deals with comprehending areas of knowledge in a new scope, so much scientific as artistic around this field. We start with a basic concept, that one of sound space. The conference includes scientific sessions (lectures, communications and round-table sessions) to be developed in the campus of UAM, and two acusmatic concerts in Centro Reina Sofía. The main topics include: the relationships space-time in Music and Architecture, Sound Space, Electroacustic music, and other topics.

for more information about this call:

http://csipm.blogspot.com.es/2012/12/congreso-internacional-espacios-sonoros.html

please download these documents:
3.-Call for Papers. SOUND SPACES 2013. ENGLISH
4.- THE SPACE LABORATORY. ENGLISH

any other question, please write: espacios.sonoros2013@uam.es

Yours faithfully,
José Luis Carles. Departamento Interfacultativo de Música. UAM, and
Adolfo Núñez. LIEM (INAEM). Departamento Interfacultativo de Música. UAM, Conference Co-Chairs

Eric Leonardson, Adjunct Associate Professor
Department of Sound
Part Time Faculty Representative At-Large
Faculty Adviser, Academic Advising and Student Success
The School of the Art Institute of Chicago (SAIC)
E-mail: eleona@saic.edu
Homepage: http://ericleonardson.org/whatsnew/
SAIC Sound: http://www.saic.edu/degrees_resources/departments/sound/
Midwest Society for Acoustic Ecology: http://mwsae.org
World Listening Project: http://www.worldlisteningproject.org/
Mobile: 773-342-5012
Skype: worldlistening

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Von: Michael Harenberg
Betreff: Degemnewsgroup Info zu SSI#2
Datum: 11. Januar 2013 15:06:19 MEZ

KARLSRUHE – Klangkunst im und am Staatl. Museum für Naturkunde,
SolarSonical Insects #2

„SolarSonical Insects #2“ (2012)
Sonderausstellung im Staatl. Museum für Naturkunde Karlsruhe
15.November 2012 – 27.Januar 2013

Eine begehbare MikroKlang-MakroFilm-EreignisSphäre und eine MikroKlang-LED-Video-Licht-Skulptur mit „Public Viewing von Natur und Wissenschaft als Kunst“ von Sabine Schäfer / Joachim Krebs

bis 27.01.13:
in zwei Sonderausstellungsräumen des Museums:
6-Kanal-Audio-Video-Installation mit 10-gliedrigem Lautsprecher-Ensemble und 4 großformatigen Projektionsflächen

verlängert, auch nach dem 27.01.13:
an der Außenfassade des Museums: permanente 3-Kanal-LED-Video-Installation mit Stereo-Audiostreaming per Mobiltagging

Informationen: http://www.smnk.de/ssi2 und www.sajo-art.de

Auszüge aus dem Ausstellungsflyer

Public Viewing von Natur und Wissenschaft als Kunst

Unter dem Motto „Public Viewing“ von Natur und Wissenschaft als Kunst realisiert das Medienkünstlerpaar das sparten- und genreübergreifende Kunstprojekt SolarSonical lnsects#2. Dieses, quasi im ’schen Themenquadrat zwischen Kunst, Wissenschaft, Natur und Technik fluktuierende, Audio-Video-Medienkunstwerk präsentiert sich in den Sonderausstellungsräumen des Museums als eine begehbare MikroKlang-MakroFilm-EreignisSphäre sowie als MikroKlang-LED-Video-Licht-Skulptur für den öffentlichen Raum an der Außenfassade des Museumsgebäudes.
Die EreignisSphäre innen wird dabei nach außen gestülpt und auf die LED-Video-Licht-Skulptur in den öffentlichen Raum projiziert. So präsentiert sich während der Ausstellungszeit auf der LED-Video-Licht-Skulptur vor allem ein „Public-Viewing-Ereignis von Kunst“.

Durch die besonderen Präsentationsformen wie LED-Displays und Kopfhörer via Smartphone bleibt das Kunstprojekt über die Öffnungszeiten des Museums hinaus erlebbar und animiert auf neue Weise zum Besuch des Museums. Das LED-Video-Triptychon kann darüber hinaus von den Künstlern und den Museumsmitarbeitern aber auch als vielfältig und künstlerisch gestaltetes, multifunktional nutzbares mediales Fenster des Museums nach außen eingesetzt werden, um auf diese Weise in einem „Public Viewing von Natur und Wissenschaft“ auf Sammlungsschätze, Ausstellungsereignisse und Forschungsergebnisse des Museums aufmerksam zu machen.

Werkinformationen SolarSonical Insects #2

SOLAR

Zeit ist der Klang, der uns von den Sternen „geschenkt“ wird.
(frei zitiert nach Sun Ra)

Aus 7.200 Bildern der Sonne, aufgenommen vom NASA Satelliten „Solar Dynamic Observatory“ (SDO) und vom Max-Planck-Institut für Sonnensystemforschung zur Verfügung gestellt, generierte das Künstlerpaar ein Kunstvideo mit der Gesamtspieldauer von 630 Sekunden. Die Bilder wurden in frei flottierenden Geschwindigkeiten zwischen 10 bis 50 Bildern pro Sekunde animiert. Durch den Prozess der verkleinernd-verkürzenden Beschleunigung („Zeitraffer“) der „unendlich“ langen Zeiten der Bewegungen der Sonne werden die bis dato noch weitgehend unsichtbaren visuellen Dimensionen unseres energiespendenden Zentralgestirns sichtbar.

Zitat : Je mehr es also gelingt, dass sich Zeit quasi in einen klingend imaginierten, begehbaren Farblicht-Resonanz-Körper von „Sonne“ verwandelt, umso intensiver mutieren die molekular-akustischen Vibrationen der Insektenklänge und -geräusche zu einem leuchtend imaginierten, begehbaren Mikroklang-Resonanz-Raum.

SONICAL

Es sind die Insekten, die uns die „Wahrheit“ hören lassen, dass alle Arten des Werdens molekular sind.
(Gilles Deleuze)

Die Klänge von Insekten, aufgenommen mit (Ultraschall-)Mikrofonen, werden mittels eines von den Künstlern eigens entwickelten Verfahrens akustisch verlangsamt und in den menschlichen Hörbereich transponiert.
Das Künstlerpaar kreiert daraus Raumklang-Kompositionen, sogenannte „Audio-Biosphären“. Diese bestehen wiederum aus einzelnen „Raumklang-Milieus“ mit ihren virtuellen „Bewohnern“, den „MikroKlängen“ von Zikaden, Grillen und Schrecken. Diese sind nach klang-ästhetischen Kriterien ausgesucht und in einer künstlerisch linear-entschleunigten Abfolge „komponiert“. Durch die „Klang-Mikroskopie“, bestehend aus Tiefer-Transposition der hochfrequenten Töne in den menschlichen Hörbereich und der extremen Verlangsamung (Audio-Slow-Motion) der sehr schnellen Abfolge der Klangereignisse, werden die Klänge für die menschlich-akustische Wahrnehmung erst nachvollziehbar.

Zitat : Der Prozess der vergrößemd-verlängemden Entschleunigung („Zeitlupe“) der „unendlich“ kurzen Zeiten der Insekten macht mittels aktueller Digitaltechnologie zuvor Unhörbares hörbar. Dabei transformieren die Insekten, in einer quasi symbiotisch fluktuierenden Zwischenzone, zu kontinuierlich in polyrhythmisch-paradoxen Komplexitäten oszillierenden „Solaren Instrumenten“, die wiederum vom Licht der Sonne, mit dem sie kommunizieren, gespielt werden!

INSECTS

Der Anfang aller Weisheit ist die Verwunderung.
(Aristoteles)

Ausgangsmaterial für das skulpturale Video-Triptychon sind zahlreiche Makrofilm-Aufnahmen von Insekten, die von Prof. Dr. Urs Wyss, einem der führenden Insektenforscher Deutschlands, mit modernster Kameratechnik und viel Geduld in jahrelanger Arbeit am Stereomikroskop erstellt wurden. Insekten bilden die artenreichste Organismengruppe auf der Erde, die wie alles Leben auf unserem Planeten erst durch die Energie der Sonne existieren können.
Nach spezifischer Selektion von unverändert belassenen Filmausschnitten und „artifizieller, sukzessiv-linearer Kombination“ durch das Medienkünstlerpaar sowie das anschließende, von ihnen entwickelte Verfahren der „elementarisierenden Entschleunigung“ werden die zunächst unsichtbaren ästhetischen Dimensionen und Bewegungs-Qualitäten auch von sehr kleinen, teils unter einem Millimeter großen Insekten sichtbar. Damit eröffnen Wissenschaftler und Künstler gemeinsam völlig neuartige Einblicke in den immer noch sehr unbekannten, fantastischen Mikrokosmos der Insektenwelt.

Das Künstlerpaar arbeitet auf den Gebieten der Raumklangkunst, der Mikroklang-LED-Licht-Kunst sowie der Audio-Video-Installation. Sabine Schäfer kreierte u.a. in den 1990er Jahren das Raumklangkunstprojekt „TopoPhonien“, für das sie 1993 den Siemens-Medienkunstpreis erhielt. Joachim Krebs entwickelte Mitte der 1990er Jahre ein originäres Verfahren der Audio-Mikroskopie („EndoMikroSonoSkopie“), mit dem er zuvor unhörbare Mikrodimensionen von Natur- und Tierklängen hörbar macht. In oft enger Zusammenarbeit mit Wissenschaftlern schaffen die Künstler begehbare Ereignis-Sphären aus MikroKlang und FarbLicht.

ART – NATURE – SCIENCE – TECHNOLOGY
Atelier
Sabine Schäfer / Joachim Krebs
Liegnitzer Str. 4 a/b
76139 Karlsruhe
Tel.: +49 – (0)721 – 684 514
Fax: +49 – (0)721 – 680 2819
Email: artists@sajo-art.de
Artist website: www.sajo-art.de
Wikipedia: Joachim Krebs / Sabine Schäfer

————————————

Von: Julien Rabin
Betreff: Concours de composition électroacoustique ERASMUS
Datum: 10. Januar 2013 10:57:19 MEZ

The Association Française d’Informatique Musicale (AFIM), the Department of Music and the International Relations Department of the University Paris VIII is holding an international composition competition for electronic music in the framework of the Journées d’Informatique Musicale (JIM 13), May 13-15, 2013.

Three works will be selected (first, second and third award) for the concert-conference at the University Paris VIII on May 14, 2013. The University Paris VIII will support the travel and accommodation of the winners. The awards will be announced in April 2013. One work will be selected for a € 1000 cash first award offered by the Association Française d’Informatique Musicale (AFIM).

http://www.mshparisnord.fr/JIM2013/concours.html
http://www.mshparisnord.fr/JIM2013/

————————————

Von: Leigh Landy
Betreff: Organised Sound – call for submissions
Datum: 10. Januar 2013 15:20:28 MEZ

Organised Sound: An International Journal of Music and Technology

Call for submissions

Volume 19, Number 2 (publication date August 2014)

Issue thematic title: The Sound of Cultures
Date of Publication: 2014
Publishers: Cambridge University Press

Issue co-ordinator: Manuella Blackburn (blackbm@hope.ac.uk)

Submission deadline: 15 September 2013

Recorded sound often provides the starting point for creative work within the practice of electroacoustic music. Means of accessing sounds and inspiration from all corners of the globe bring these aural and often so-called exotic experiences closer to us than ever before. High-quality portable recording technology, file sharing, networking and the Internet have all contributed to this ‘easy’ access, but what are the ethical considerations here? Should creators of sonic art assume unrestricted access or even proprietary rights over this substantial resource? Where does respect end and appropriation commence? And as audience members, how do we listen and respond to works that borrow, reconfigure and transform cultural/ethnic/exotic sounds?

Following the Organised Sound ‘Global Local’ issue 13/2 (2008), the open sound world of electroacoustic music, where any sound may be sampled and integrated, demands a closer look. Are certain sounds ‘off-limits’ with respect to issues of cultural or social sensitivity? Should we be cautious and respectful when we plunder from the global sound pallet? How do we as composers deal with these sounds in the studio?

Of course culture can manifest itself in other ways. An impression, hint or suggestion may imply inspiration drawn from a foreign ‘otherness’. Understanding how such influences manifest themselves within sonic works may reveal new fusions, hybrids and methods of composing. Cultures can also be described as internal developments within regions, genres, institutions and schools of thought. Greater awareness of sub-cultural contributions to the wider understanding of electroacoustic music is fundamental to the continuation and evolution of sonic practices. Modes of synthesis, programming, installation, audio-visual practices and performance are often defined and contextualized through cultural practice. The role of technology and its ability to capture, collate, preserve and exploit cultural sounds and aural traditions are all aspects at the heart of this issue.

Topics for investigation might include:
– Issues associated with sonic/musical exchange across cultural boundaries
– ‘Exoticism’ and its manifestation in electroacoustic music/sound art
– Identification and developments of musical sub-cultures
– Sonic signatures (originating from regions, institutions, genres and practice)
– Issues of sonic appropriation and borrowing
– Sound location and dislocation
– Site- and cultural-specific sound
– Symbolic/iconic sound use and its prevalence in electroacoustic music
– The preservation, cultivation or exploitation of local/global sounds
– Ethnic phonography

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 2013. 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 as well on the journal’s website.

SUBMISSION DEADLINE: 15 September 2013

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 editor.

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:

Prof. Leigh Landy
Organised Sound
Clephan Building
De Montfort University
Leicester LE1 9BH, UK.

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

Prof. Leigh Landy
Director – Music, Technology and Innovation Research Centre
Clephan Building
De Montfort University
Leicester LE1 9BH United Kingdom
TEL +44/0-116 2577956, +44/0-1244 571930
llandy@dmu.ac.uk, leigh.landy@gmail.com
http://www.mti.dmu.ac.uk/, http://www.mti.dmu.ac.uk/~llandy

„Organised Sound“ os@dmu.ac.uk
http://www.journals.cambridge.org/oso

EARS http://www.ears.dmu.ac.uk
EMS Network http://www.ems-network.org

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+

radio „hr-2-kultur“:
Tuesday, 15th January 2013, 22:00-23:00:
Frank Niehusmann presents works from his CDs „Day Tracks“ and „LIVE“

http://www.hr-online.de/website/radio/hr2/index.jsp?rubrik=31122&key=standard_document_43789901

webstreams:
http://www.hr-online.de/website/radio/hr2/index.jsp?rubrik=23746

on air/cable/satelite:
http://www.hr-online.de/website/radio/hr2/frequenzen3684.jsp?rubrik=3684

more:
http://www.niehusmann.org/news/2013-01-15-radio-hr-2-kultur.html

+
http://www.niehusmann.org/disx
http://radikalaudiolab.bandcamp.com
+

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Von: CEC
Betreff: call for papers and works -> „Understanding Visual Music – UVM 213“ int’l conference [CEIArtE – UNTREF] Buenos Aires
Datum: 2. Januar 2013 17:14:58 MEZ

INTERNATIONAL CALL – SYMPOSIUM
Understanding Visual Music – UVM 2013
Colloquium + Concerts x Visual Music
August 8th and 9th, 2013
Buenos Aires – Argentina

The Electronic Arts Experimentation and Research Centre – CEIArtE (Centro de Experimentación e Investigación en Artes Electrónicas) of the National University of Tres de Febrero (Universidad Nacional de Tres de Febrero) in Argentina is inviting to submit papers and artworks about videomusic to be considered for the Understanding Visual Music – UVM 2013 symposium. The event will be co-produced with the San Martín Cultural Centre and the Planetarium of Buenos Aires. The symposium will be held on August 8th and 9th of 2013, in the city of Buenos Aires, Argentina.

THEME: Considering that part of the symposium will be held in a Planetarium, the theme „From macro to micro“ suggests the possibility of exploring multiple universes that we are just beginning to discover.

GOALS: The goals of this event are: [1] to create an opportunity for artists and researchers involved with “visual music” to share and discuss artistic, aesthetic, perceptual, technological, educational, and sociocultural themes relevant to this field, and [2] to welcome interdisciplinary collaboration, innovation, and cross-fertilization among creators, researchers, and educators involved in visual music and associated fields (including electroacoustics, animation, computation arts, media arts, music, film, and more).

SYMPOSIUM (colloquium + concerts): Understanding Visual Music – UVM 2013 offer an space to share and generate knowledge on “Visual Music”. The Symposium is structured upon [1] a colloquium which invites artists-researchers and academics to expose their explorations and findings in the field; and [2] concerts -open to the general public- with “visual music” works.

IMPORTANT DATES: Submissions open (papers and works): January 10th. Submissions Closed: March 23rd of 2013 – midnight Buenos Aires time. We will be announcing additional submission information soon as well as the accepted formats for the artworks. The event will run for 2 days , August 8th and 9th, 2013.

INFORMATION AND CONTACT: To contact the organizers write to ceiarte@untref.edu.ar writing in the SUBJECT: [UVM 2013]

More information: http://www.ceiarteuntref.edu.ar/uvm2013

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