[ 7. Dezember 2015 ]

CALL – Call for projects „Music in the Expanded Field“ – Marko Ciciliani

Subject: Call for projects „Music in the Expanded Field“ –

Marko Ciciliani

From: Xenia Pestova

Call for projects „Music in the Expanded Field“ – Marko Ciciliani

Music in the Expanded Field – Workshop on Audiovisuality

48th International Summer Course for New Music Darmstadt 2016


Interaction between visuals and music

Visualisation of music

audiovisual concepts

Maximum capacity: 10

Passive participation: according to prior agreement

Requested technical equipment will depend on the individual projects.


In 1978 Rosalind E. Krauss published the seminal article “Sculpture in

the Expanded Field” where she described a fundamental shift in the

understanding of the term ’sculpture‘ in the context of visual arts.

According to Krauss, during the 60s the term grew to include a large

number of contrasting practices that reach far beyond the traditional

understanding of sculpture, as e.g. land art or conceptual art.

Krauss‘ publication marked a shift in the understanding of art that

manifested itself in a different manner of handling material and of


Nowadays, a similar shift can be observed in music. Today, many

composers are working beyond the traditional boundaries of music,

expanding into other media and/or practices, often drawing from the

visual fields. They nonetheless maintain a connection with the original

musical motivation. This practice often makes it appear as though,

in these particular works, sound alone would not suffice to express

musical ideas in satisfactory ways. This is in contrast to many more

conventional combinations of media, where the respective boundaries –

along with the different authors – can easily be detected.

This workshop “Music in the Expanded Field” will pursue this line of

thought while focusing on the combination of music and visual media. It

is aimed at musicians, composers and sound artists who are expanding

into visual designs while originating their motivations in musical

ideas, thereby searching for genuinely audiovisual art forms.

Focus will be placed on video and lighting. During the workshop the

realization of a number of projects will be supervised, leading to a

public performance as part of the festival program. Furthermore, the

aforementioned developments will be reflected upon in joint discussions.

The main questions to be raised are:

how can audiovisuality be approached and understood today?

What are the technological options to pair sound and visuals? How can

interactivity be included? Can audiovisuality become part of instrument


What are the artistic implications of audiovisuality? Can sound and

visuals be conceived as a continuity or are they bound to their medium



Participants interested in this workshop are asked to submit a proposal

for an audiovisual work that they would like to realize as part of the

workshop (max. 2 A4 pages). In addition, two representative examples of

previous works and an artistic CV should be submitted. The works can use

acoustic or electronic instruments, or be conceived for fixed media.

Video and lighting are the primary options for the visual designs during

the workshop. However, other media like lasers, kinetic sculptures or

the like can be used. Depending on the complexity of the

proposed projects, 6 to 10 projects will be accepted altogether. The

application material should be submitted digitally as links or downloads.

The selection will be announced in January 2016.

Between mid-March and mid-April (anticipated timeline), an introductory

session will take place where various foundations for the workshop will

be established. First, theoretical basics regarding audiovisual forms

will be conveyed:

a historic survey of audiovisual forms of art;

concepts of interrelationships between different media;

concepts of music beyond sound;

Second, the accepted projects and further preparations will be

discussed so that the time during the summer courses can be used as

effectively as possible.

Important information for the call:

Please, post the following materials to


by 15 December 2015 the latest.

1 PDF, 3 pages long maximum. The pages should consist of:

CV/bio (short version)

max. 2 pages proposal about what you would like to do for this


2 pieces (can be a complete piece or an excerpt)

Only electronic applications will be accepted.

Marko Ciciliani will choose the six to ten candidates not later than 15

January 2016.

The selected artists have to be registered as regular Summer Course

participants (registration on-line between 6 January and 30 April 2016).

Places for these six to ten artists will be assigned.

Dr Xenia Pestova


Director of Performance, University of Nottingham