DEGEM News – FWD – Stellenschaltung: Professur [Gustav Mahler Privatuniversität für Musik]

Von: Mikl Michaela
Datum: Wed, 14 Feb 2024
Betreff: Stellenschaltung: Professur

Gustav Mahler Privatuniversität für Musik

9020 Klagenfurt am Wörthersee, Mießtaler Straße 8

Tel.: +43 (0) 50536 – 16534

Mobil: +43 (0) 664 ­– 80536 16534

E-Mail: michaela.mikl@gmpu.ac.at

Web: www.gmpu.ac.at

 

@GustavMahlerUni                          @gustavmahleruniversitaet

An der Gustav Mahler Privatuniversität für Musik (GMPU) in Klagenfurt am Wörthersee gelangt ab 01.10.2024 eine Stelle als

Universitätsprofessor*in für Klang und Intermedia

in Form eines teilzeitbeschäftigten vertraglichen Dienstverhältnisses (20 Wochenstunden entsprechen 50%, perspektivische Option auf Stundenerhöhung) befristet auf 5 Jahre zur Besetzung. Nach positiver Evaluierung besteht die Möglichkeit auf eine Entfristung der Professur.

Fachliches Profil:

Klang und Intermedia (KIM) ist an der GMPU als künstlerisches Fach definiert. Es untersucht zeitgenössische künstlerische Praktiken, in denen Klang als ästhetisches und epistemisches Medium eine kritische Beziehung zu anderen analogen und digitalen Medien eingeht und dabei Schnittstellen zu technologischen und gesellschaftlichen Kontexten eröffnet. Ausgehend vom Kernbereich der Klang- und Installationskunst können weitere Ansätze integriert werden, um etwa in erweiterten Aufführungs- und Ausstellungskontexten neue Zwischenräume auszuloten. Dafür wird der seit den 1960ern und somit noch vor Etablierung des Genres Klangkunst geprägte Terminus Intermedia aufgegriffen. Mit ihm verbindet sich eine prozessorientierte Sicht, in der Grenzen zwischen entwickelten Medien und Formaten innerhalb der Künste verschmolzen aber auch zwischen Kunst und Gesellschaft überschritten werden. KIM versteht sich aus der Sicht der Künstlerischen Forschung als eine interdisziplinäre Praxis „durch Klang“. Im Rahmen der Akkreditierung des künstlerischen Doktorats im Bereich der Artistic Research wird Klang und Intermedia einer von drei Forschungsschwerpunkten sein.

Daher wird eine erfahrene und ambitionierte künstlerische Persönlichkeit gesucht, die
• mit ihren künstlerischen Arbeiten und ihrer Forschung internationale Beachtung und Anerkennung in den Feldern Klangkunst, intermediale Kunst oder verwandter Bereiche findet
• eine offene Diskursfähigkeit besitzt und mit aktuellen Positionen der zeitgenössischen Kunst (Klangkunst, Medienkunst) und Musik vertraut ist
• Interesse an zentralen Hochschulthemen wie Interdisziplinarität und kollaborative Prozesse sowie Engagement für Inklusion und Diversität mitbringt
• über breites Wissen zu relevanten Themen des Fachbereiches verfügt, insbesondere im Bereich digitaler Technologien (z.B. Mensch-Maschine-Interaktion, fachspezifische Programmiersprachen, Soft- und Hardware)
• den Bereich Klang und Intermedia im oben skizzierten Verständnis durch Lehre und Forschung zur Entfaltung bringen will
• in der Lage ist, Doktorand*innen im Schwerpunkt Klang und Intermedia in ihren jeweiligen Vorhaben zu betreuen
• über didaktische Fähigkeiten und Begeisterungsfähigkeit in der Arbeit mit Studierenden und möglichst über universitäre Lehrerfahrung verfügt
• nationale und internationale Kontakte im Kunst-, Kultur- und Forschungsbetrieb zur Unterstützung der Studierenden und Absolvent*innen und beim Aufbau von nationalen und internationalen Netzwerken einbringen kann.

Aufgaben: (basierend auf den Bestimmungen der Dienstordnung)
· Verantwortliche Vertretung, Förderung und Weiterentwicklung des Fachs in seiner Gesamtheit und insbesondere in den Bereichen Artistic Research und der Entwicklung und Erschließung der Künste (inkl. Teilnahme an Kongressen, etc.)
· Eigenständige Forschung und Publikationstätigkeit bzw. vergleichbare künstlerische Tätigkeiten
· Mitwirkung am weiteren Ausbau der künstlerisch-wissenschaftlichen Forschung an der GMPU durch die Entwicklung, Planung, Akquise und Durchführung von Forschungsprojekten möglichst auch in internationaler Dimension
· Lehre und Betreuung vorrangig im einzurichtenden künstlerischen Doktoratsstudiengang und außerdem in den MA-Studiengängen, darunter als eigenes Schwerpunktstudium im MA MAK (Musikalische Aufführungskunst)
· Betreuung von Abschlussarbeiten sowie kommissionelle Prüfungstätigkeit
· Einwerbung von Drittmitteln
· Aufbau und Betreuung von Infrastruktur und Gerätschaft für den Bereich KIM
· Mitwirkung an der akademischen Selbstverwaltung, an Organisations-, Verwaltungs- und Gremienaufgaben sowie an Evaluierungsmaßnahmen

Anstellungserfordernisse:
· Abgeschlossenes facheinschlägiges Hochschulstudium und Promotion
· Eine internationale Ausstrahlung als Künstler*in-Forscher*in mit einer umfangreichen und vielfältigen künstlerischen und künstlerisch-wissenschaftlichen Praxis auf hohem Niveau
· Lehrerfahrung auf Universitäts- bzw. Hochschulniveau (Hochschuldidaktische Erfahrung)
· Herausragende Forschungstätigkeit, nachgewiesen durch eigene Forschungsanträge, Forschungsprojekte und Publikationen bzw. herausragende künstlerische Tätigkeit mit internationaler Strahlkraft
· Fähigkeit zur Entwicklung der fachlich-theoretischen Grundlagen für den Fachbereich, nachgewiesen durch entsprechende Tätigkeiten und/oder Publikationen
· Repräsentations-, Netzwerk- und Projektmanagementkompetenz (Leitung und Organisation von Projekten)
· Mehrjährige fachbezogene (künstlerische und pädagogische) Berufserfahrung
· Sehr gute Englisch- und Deutschkenntnisse in Wort und Schrift (bzw. bei nicht ausreichenden Deutschkenntnissen die Bereitschaft, diese Kompetenz innerhalb einer Übergangsfrist zu erwerben)
· Teamfähigkeit, Organisations- und Kommunikationsfähigkeit

Erforderliche Unterlagen:
• Motivationsschreiben
• Forschungs- und Lehrkonzept (3 Seiten)
• Lebenslauf und Ausbildungsnachweise; Dissertation (PDF oder Link)
• Nachweise künstlerischer bzw. künstlerisch-wissenschaftlicher Tätigkeiten
• künstlerische Arbeitsproben (mittels Link, der bis zum Ende des Berufungsverfahrens aufrufbar ist)
• Publikations- und Vortragsliste
• Liste abgehaltener Lehrveranstaltungen (Evaluierungen falls vorhanden)

Es wird darum gebeten, die Unterlagen als eine PDF Datei einzureichen und mit einem Inhaltsverzeichnis zu versehen.

Ende der Bewerbungsfrist: 19.03.2024

Wir bieten Ihnen:
eine attraktive Stelle zum Verwirklichen eigener Ideen und Projekte an Österreichs jüngster Musikuniversität in Kärnten sowie die Möglichkeit, den Bereich Klang und Intermedia an der Gustav Mahler Privatuniversität für Musik auf- und auszubauen.

Bezahlung:
Nach wkP4 laut GMPU-Dienstordnung: Monatsbruttolohn/Vollbeschäftigung: € 6.218,30
Ein höheres Gehalt ist je nach Berufserfahrung möglich.

Bewerbung:
Interessent*innen mit entsprechenden Qualifikationen werden eingeladen, ihre aussagekräftige und vollständige Bewerbung vorzugsweise per E-Mail an jobs@gmpu.ac.at (Betreff: Univ.-Prof. KIM) oder postalisch zu übermitteln:

Gustav Mahler Privatuniversität für Musik
z.Hd. Frau Mikl, BA MA
Mießtaler Straße 8
9020 Klagenfurt

Bei fachlichen Fragen zur Stellenausschreibung steht Ihnen gerne Univ.-Prof. Dr. Hanns Holger Rutz zur Verfügung.

Die Bewerbungen verbleiben an der Privatuniversität. Die Bewerber*innen haben keinen Anspruch auf Abgeltung der Reise- und Aufenthaltskosten, die durch das Aufnahmeverfahren (Hearing bestehend aus künstlerischer Präsentation, Lehrprobe und Kolloquium) entstanden sind.
Die Privatuniversität strebt eine Erhöhung des Frauenanteils beim wissenschaftlichen, künstlerischen und allgemeinen Universitätspersonal insbesondere in Leitungsfunktionen an und fordert daher qualifizierte Frauen ausdrücklich zur Bewerbung auf. Im Sinne der sozialen Nachhaltigkeit der Gustav Mahler Privatuniversität für Musik in Klagenfurt, die alle Diversitätsaspekte berücksichtigen möchte, werden Menschen mit zusätzlichem Unterstützungsbedarf bei gleicher Qualifikation bevorzugt angestellt.

Für das Rektorat: Rektor Mag. Roland Streiner

DEGEM News – FWD – [ak-discourse] WG: Funded PhD – „The neuroaesthetics of immersive sounds“ @ SOUND/IMAGE Research Centre – University of Greenwich

Von: Lepa, Steffen via ak discourse
Datum: Tue, 13 Feb 2024
Betreff: [ak-discourse] WG: Funded PhD – „The neuroaesthetics of immersive sounds“ @ SOUND/IMAGE Research Centre – University of Greenwich

The neuroaesthetics of immersive sounds – neurochemical profiling and neurophysiological characterization

 

This interdisciplinary PhD scholarship (Vice Chancellor Scholarship) aims to elucidate neurochemical dynamics and mechanisms underlying the aesthetic emotions elicited by exposure to different immersive sound scenarios.

 

We are looking for a PhD candidate with cross-disciplinary knowledge and experience in neuroscience and spatial sound (musical) experiences, to undertake a research project into the neural mechanisms responsible for processing immersive soundscapes, to improve our understanding of the mechanisms and dynamics of how aesthetic encounters are processed in the brain.

 

Working with a supervisory team across the SOUND/IMAGE Research Centre and the Centre for Organized and Functional Molecules FES, this cross-disciplinary team will ensure the required skills in spatiality and creativity, molecular and cellular neurobiology with analysis of biomarkers, and neuroimaging for this interdisciplinary research project.

 

The results of our experiments should yield important insights into the neurobiology and mechanisms of aesthetic experiences, providing more quantitative means for improving self-connection, creativity, prosocial behaviours and cognitive flexibility, leading to better mental health.

 

Full details via the link: https://docs.gre.ac.uk/rep/communications-and-recruitment/the-neuroaesthetics-of-immersive-sounds-neurochemical-profiling-and-neurophysiological-characterization

 

 

 

 

——————————–

Prof. Andrew Knight-Hill

Professor of Music and Sound Arts,
SOUND/IMAGE Research Centre,
University of Greenwich, London.
a.hill@gre.ac.uk

www.ahillav.co.uk

 

 

Current Projects:

Shared Hub for Immersive Future Technologies (SHIFT)“ (AHRC CResCa) – https://gtr.ukri.org/projects?ref=AH%2FX010260%2F1

Audiovisual Space“ (AHRC Leadership Fellowship) – https://gtr.ukri.org/projects?ref=AH%2FV006975%2F1

Exploring Cultural Diversity in Experimental Sound“ (AHRC Research Grant) – https://gtr.ukri.org/projects?ref=AH%2FV010964%2F1

 

 

Publications:

[NEW] Art of Sound: Creativity in Film Sound and Electroacoustic Music

https://www.routledge.com/Art-of-Sound-Creativity-in-Film-Sound-and-Electroacoustic-Music/Knight-Hill-Margetson/p/book/9780367755881

 

Sound and Image: Aesthetics and Practices

https://www.routledge.com/Sound-and-Image-Aesthetics-and-Practices/Knight-Hill/p/book/9780367271466

 

SOUND/IMAGE Research Group

https://www.gre.ac.uk/research/groups/sound-image

 

Study with us:

PhD Music and Sound Arts / Postdoctoral Fellowships:
https://blogs.gre.ac.uk/sound-image/how-to-apply-for-a-phd/

 

MA Music and Sound Design

https://www.gre.ac.uk/postgraduate-courses/ach/music-and-sound-design-ma

 

MA Digital Arts

https://www.gre.ac.uk/pg/ach/ma-digital-arts

 

BA Music and Sound Production

https://www.gre.ac.uk/undergraduate-courses/ach/music-and-sound-production-ba-hons

University of Greenwich, a charity and company limited by guarantee, registered in England (reg no. 986729). Registered Office: Old Royal Naval College, Park Row, Greenwich SE10 9LS.

 

DEGEM News FWD – [ak-discourse] Call | 5th International Symposium on the Internet of Sounds

Von: Lepa, Steffen via ak discourse
Datum: Mon, 12 Feb 2024
Betreff: [ak-discourse] Call | 5th International Symposium on the Internet of Sounds

International Audio Laboratories Erlangen

Date: 30 September – 2 October 2024

Submission Deadlines: July 10, 2024

We are pleased to invite you to the 5th International Symposium on the Internet of Sounds (IS2 2024). The Internet of Sounds is an emerging research field at the intersection of the Sound and Music Computing and the Internet of Things domains.

The symposium will be hosted at the International Audio Laboratories Erlangen, Germany, a joint institution of the Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU) and Fraunhofer Institute for Integrated Circuits IIS.

The aim is to bring together academics and industry to investigate and advance the development of Internet of Sounds technologies by using novel tools and processes. The event will consist of presentations, keynotes, panels, poster presentations, demonstrations, tutorials, music performances, and installations.

Keynote Speakers

The program will include three keynotes:

  • Toon van Waterschoot, KU Leuven
  • Georg Hajdu, Hamburg University of Music and Theatre
  • Hanna Lukashevich, Fraunhofer Institute for Digital Media Technology

Satellite Events

The program will include two satellite events:

For the topics addressed in each workshop please visit the respective webpages.

Call for Papers and Demos

Topics of interest include and are not limited to:

  • Networked immersive audio for the Internet of Sounds
  • Web Audio for the Internet of Sounds
  • Networked Musical XR
  • Semantic Audio applications for the Internet of Sounds
  • Embedded audio
  • Smart musical instruments
  • Ubiquitous music
  • Networked music performances
  • Participatory live music performances
  • Musical haptics for the Internet of Musical Things
  • Music education applications for the Internet of Musical Things
  • Intelligent music production in Internet of Musical Things contexts
  • Protocols and exchange formats for the Internet of Sounds
  • Ecoacoustics
  • Wireless acoustic sensor networks
  • Privacy and security in acoustic sensor networks
  • Detection and classification of sounds in acoustic sensor networks
  • Visualization and Sonification of acoustic sensor networks
  • Sonification for Internet of Sounds applications
  • Audio datasets for Deep Learning and Data Mining
  • Challenges in the management and delivery of large audio databases
  • Visualization, access, and indexing of audio databases
  • Cloud-based services for musical and audio applications
  • Improving accessibility and inclusiveness within the Internet of Sounds
  • Sustainability and ethical aspects of the Internet of Sounds
  • Music information retrieval in networked applications

We consider submissions in the form of:

  • Full paper (min 5 pages, max 10 pages)
  • Poster paper (min 2 pages, max 4 pages)
  • Demo proposal (max 2 pages)

Authors are welcome to submit to all three tracks. We encourage the submission of work in progress as well as more mature work. However, only the contributions of at least 4 pages will be included in the Proceedings to be submitted to IEEE.

Paper Submission

All submissions will be fully, single-blind peer-reviewed. The expected number of pages for contribution should not exceed 10 pages for paper. Authors must follow IEEE ethical and writing guidelines.

LaTeX and Word template: https://www.ieee.org/conferences/publishing/templates.html

Submission portal: https://easychair.org/conferences/?conf=is22024paper

Call for Internet of Sounds Performances and Installations

We invite submissions that showcase the internet of sounds in performance and sound installations. Proposed works should have a clear connection to the conference and may relate to a technical paper or demo submission. We particularly invite pieces that last 5-12 minutes, however, shorter and longer performance proposals will be considered.

Performances and Installations Submission

A proposal (compiled in a single pdf) should include:

  • One-page project description
  • One-page description of technical requirements
  • Short program notes
  • Artist bio(s)
  • URL to any performance/installation audio or audio-visual documentation (if available).  The documentation link should use streaming-only services, e.g., SoundCloud, Vimeo, YouTube.

Please keep in mind the following when preparing performance and installation submissions:

  • Space requirements: Indicate whether the work would be more suitable for a university environment (hallways, staircases, indoor and outdoor plazas), club, traditional concert stage, gallery, public space, or other venue. For questions regarding equipment and venue descriptions, please contact the Music & Installations Co-chairs
  • Performer(s): List all performers that would need to be involved. Please note that the organizers cannot provide funding to support performers’ travel or accommodation.
  • Feasibility: Provide evidence of the feasibility of the performance or installation. Include documentation and list of previous performances of the submitted or related work that demonstrate the submitter’s capacity to implement the proposal.

Submission portal: https://easychair.org/conferences/?conf=is22024music

Important Dates

  • All submission deadlines:    July 10, 2024
  • Author notification:             August 15, 2024
  • Camera-ready due:              September 9, 2024
  • Early registration deadline: August 26, 2024
  • Late registration deadline: September 23, 2024
  • Symposium dates:                September 30 – Oct 2, 2024

Awards

The Organizing Committee will select the winners for the Best Paper, Best Student Paper, and Best Demo awards. To be eligible for the Best Student Paper award, the presenting and first author of the paper must be a full-time student.

Organizing Committee

  • Local Chair: Nils Peters – International Audio Laboratories Erlangen, University of Erlangen-Nürnberg
  • Paper Co-chair: Jakob Abeßer – Fraunhofer Institute for Digital Media Technology IDMT
  • Paper Co-chair: Joseph Malloch – Dalhousie University
  • Music & Installations Co-chair: Esther Fee Feichtner – University of Music and Performing Arts Munich
  • Music & Installations Co-chair: Marlon Schumacher – Institute for Music informatics and Musicology Karlsruhe
  • Demo Chair: Robert Hupke – Sennheiser
  • Diversity Chair: Claudia Rinaldi – University of L’Aquila
  • Industry Liaison Chair: Jan Dürre – Sennheiser
  • Communication Chair: Birgit Popp – Fraunhofer Institute for Integrated Circuits IIS
  • Web Chair: Alberto Boem – University of Trento
  • Facility Chair: Stefan Turowski – International Audio Laboratories Erlangen, University of Erlangen-Nürnberg
  • General Chair: Luca Turchet – University of Trento

General Contact

Enquiries can be addressed to conference-is2-2024@fau.de

 

DEGEM News – FWD – ANTI-MATTER-PLANT :: Release 01 2004 – 2024

Von: Ephraim Wegner
Betreff: ANTI-MATTER-PLANT :: Release 01 2004 – 2024
Datum: Mon, 12 Feb 2024

ANTI-MATTER-PLANT
http://www.anti-matter-plant.org/

2004 – 2024 :: 20 Jahre ANTI-MATTER-PLANT

Für das Jahr 2024 sind mehrere Veröffentlichungen geplant. Unter der Prämisse, den nostalgischen Blick nach hinten zu wagen, wird der heutige Standpunkt zu dem jeweiligen Werk – in Form des Erinnerns – persönlich durch die Urheber und Interpreten reflektiert.

Die Idee entstand beim Durchstöbern alter Festplatten: Auffällig war, wie viele musikalische Arbeiten der vergangenen Jahre liegen geblieben sind. Die Gründe hierfür sind sicher mannigfaltig. So war man beispielsweise nicht zufrieden mit der Arbeit, die gewünschten Labels hatten ihren Katalog bereits geplant oder das Projekt zerrüttete sich, aufgrund der sich immer wieder verändernden Lebensrealitäten beteiligter Akteure.

Es geht darum, in den Zwischenräumen zu suchen und dem ein oder anderen Werk den Weg aus dem Archiv in die Öffentlichkeit zu ebnen. Und darüber hinaus die nach Vorne orientierten und auf Effizienz getakteten Produktionsbedingungen in Frage zu stellen.

2004 Way Back Machine: https://web.archive.org/web/20050208122002/http://www.anti-matter-plant.org:80/

Release 01 2004 – 2024
HmpF – Verirrung im örtlichen Safe Space oder Space Cake
http://www.anti-matter-plant.org/2024/01/hmpf-verirrung-im-ortlichen-safe-space-oder-space-cake/

Dieses ist das vierte Werk, welches HmpF (Heimwerker mit perfekten Fehlern) mittels eines analogen Vierspurgerätes produziert hat. Der Titel lautet „Verirrung im örtlichen Safe Space oder Space Cake“. Es ist der Versuch, Fieldrecordings, instrumentale Klänge und Klangmanipulationen so zu verschmelzen, dass auch der ästhetisch nicht saubere Klang seine Möglichkeit hat, zu leben und sich zu entfalten. Entstanden ist dieses Stück zwischen 2002 und 2004. In einer Zeit, in der selbst der Noise und der Glitch fein aufpoliert päsentiert werden, um dem Gehör des Konsumenten zu schmeicheln (wie z.B. in dem Album Goodbye 20th Century von Sonic Youth), verliert die Kreativität der Subkultur immer mehr an Qualität.

Nicht unbedingt, weil sie sauber klingt. Viel eher, weil sie das Bedürfnis hat, sauber zu klingen. Somit gerät der Prozess des kreativen Schaffens immer mehr in den Hintergrund und die Präsentation in den Vordergrund. Wodurch die Ästhetik mit zum Tod der Kultur beiträgt. Die akustische Beseitigung jeglichen Kratzens, Rauschens und Knorzens außerhalb des Gewünschten lässt das Geräusch an sich zum bloßen Stilmittel verkommen. Es wird eine Reinheit gefordert, die durchaus auch Auswirkungen auf die nicht akustischen Bereiche unseres Lebens hat. Auszumerzen, was nicht passt und gewünscht ist. Dies ist eine präfaschistische Herangehensweise, in der für den Kapitalismus assimiliert wird, was als chic gilt. Gecleant bis zur Unkenntlichkeit, und somit jeglichen natürlichen Zustandes beraubt. Conny Plank wählte einst das Bild von einem Menschen, der den Geräuschen in einem Wald lauscht, Tierlauten und anderen Geräuschen. Da gibt es welche, die er nicht mag, und welche, die er mag. Und, die, die er mag, behält er und macht Musik daraus. Jede Art von Geräusch hat also das Potenzial, Musik zu werden, so lange es einem Menschen gefällt.

Wenn also jedes Geräusch das Potenzial hat, Musik zu werden, warum sollten uns dann nur jene Geräusche gefallen, die “schön” klingen? Hat nicht das Hässliche auch eine eigene Form von Schönheit, welcher wir uns selbst berauben, dadurch, dass wir sie nicht zulassen? In den Jahren, in denen ich bei Radio Dreyeckland eine Sendung für experimentelle Musik moderiert habe (1996-2003), kam es immer mehr zu einer Annäherung der E- und U-Musik.

Allerdings nur auf dem Gebiet der Komposition und der Interpretation. Und auch, wenn die klassische Avantgarde die neuen Ideen der Subkultur aufsaugte, wollte die Subkultur auch immer mehr wie die klassische Avantgarde klingen. Es öffnete sich ein Raum der inzestuösen Befruchtung. Wirklich draußen blieben nur die Outsider, die sich nicht kompositorisch, sondern vor allem in der Klangästhetik diesem Raum bewusst oder unbewusst verweigerten. Die von Dubuffet mal proklamierte Art Brut war zu einer in sich selbst gereinigten Institution geworden, aus der sich jeder bedienen konnte, um hip zu klingen. Es war vielmehr zu einer Kunst der Institutionen geworden, als dass es noch Ausdruck einer Lebenshaltung oder Äußerung des eigenen Lebens gewesen wäre. Die psychische Verschiebung als Unterhaltung bei Kaviar und Champagner (oder veganen Auberginenröllchen und Bionade).

Vorbei die Tage, als sie noch als das wahrgenommen wurden, was sie einst waren: Eine andere Sicht der Welt und der Menschheit, die ihre Berechtigung hat, geäußert zu werden, weil es raus muss. Und weil es da sein muss. Hier und jetzt. Denn es ist der Gegenpol zu der kapitalistischen Assimilation von allem, was passen soll und dafür passend gemacht wird. Und wer den Safe Space wünscht, wird ihn nie finden. Irgendwas gibt es immer, was noch nicht stimmt. Was noch nicht ist, wie man es haben will. Wer aber den Space Cake isst, sollte sich nicht wundern ,wenn er hört, sieht oder riecht, was da ist, er aber vorher nicht wahrgenommen hat, oder sogar etwas wahrnimmt, das gar nicht da ist.

Diese Komposition ist hierbei eine Hommage an die Tage, an denen das Suchen im Klang noch wichtiger war als das Finden, vor allem in der deutschen Tradition vom frühen Karlheinz Stockhausen und Gottfried Michael König über Faust, Cluster oder Conrad Schnitzler, bis hin zu der Tödlichen Doris oder Minus Delta T.

Veröffentlichungen von HmpF:
Phaidros innere Form- Natürlich/ Unnatürlich (90 min. Tape, Auflage 25 Stück, erschienen 1998)
Klangmetastasen (CD-R , Auflage 10 Stück, jéde in einem individuell gestalteten Cover, erschienen 1999)
Urbane Sublimation (CD-R, Auflage 25 Stück, erschienen 2001)

Ephraim & Astrid Wegner
Dorfstraße 38
79194 Heuweiler

0157 30335712 || 0152 09841232

www.e-wegner.net
www.anti-matter-plant.org
www.cronicaelectronica.org

DEGEM News – FWD – [ak-discourse] CFP: AI in the Creative Industries: An Interdisciplinary Conference

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] CFP: AI in the Creative Industries: An Interdisciplinary Conference

AI in the Creative Industries: An Interdisciplinary Conference [EXTENDED DEADLINE]

7th June 2024

Hosted by Futureworks, Manchester UK

Artificial Intelligence has advanced extremely rapidly over the past months. Responses have been polarized; with some predicting the end of the world and others celebrating a technology with the potential to create a new industrial revolution. The biggest difference between these new algorithmic technologies and those that preceded them are the potential for new AI models to generate creative content. Visual art, photography, literature and digital scripting have been produced by AI, to varying levels of success. To the existing debates around AI (questions of ethics, consciousness, or cyborg theory, for example) have arisen new problems regarding the role of art and the artist in the age, not of mechanical reproduction, but mechanical production. Can a robot be creative?

This conference aims to bring together researchers from across media studies, music and sound, the visual arts, video games, film and TV, animation, sociology, history, literature, politics, philosophy and aesthetic theory, to interrogate the growing role of AI in the creative industries, its potentials (both negative and positive), and how we are to react to the rise of AI as both tool and creator.

Abstracts for 20-minute papers are welcomed on subjects including, but not limited to:

· AI creativity: is it truly creative?

· AI and transhumanism

· AI and the question of consciousness

· Copyright law and artificial intelligence

· Utilization of AI as a creative tool

· The depiction of AI in creative media

· The ethics of AI usage and its potential to help or harm

· The aesthetics of artificial intelligence

Please submit 250 word abstracts with accompanying 50-word bio and 5 keywords to organizer joe.darlington@futureworks.ac.uk by 29th February 2024. Submissions are encouraged from academics, postgraduate researchers and non-academic speakers alike. Creative practitioners are also welcome, as are those working in the production or utilization of AI.

DEGEM News – FWD – IEM Graz, Call for Artistic Research residency 2024 | DEADLINE: March 31th 2024

Von: Marion Czogalla via Folkmar Hein
Betreff: IEM Graz, Call for Artistic Research residency 2024 | DEADLINE: March 31th 2024
Datum: 14. Februar 2024 um 12:05:34 MEZ
 

 

Liebe Mitglieder,

Euch zur Kenntnis die Ausschreibung des Residency-Programms der Universität für Musik und darstellende Kunst Graz.

///
 
IEM Music Residency Program 2024 – Call for Applications
University of Music and Performing Arts Graz (KUG)
 
(please distribute)
 
The IEM – Institute of Electronic Music and Acoustics – in Graz, Austria is happy to announce its call for its 2024 residency program.
 
Artistic Research Residency
 
The residency is aimed at individuals wishing to pursue an artistic research project in close collaboration with an IEM staff member and related to the research fields of the IEM:
 
*  Algorithmic Composition
*  Algorithmic Experimentation
*  Audio-Visuality
*  Dynamical Systems
*  Experimental Game Design
*  Live Coding
*  Sonic Interaction Design
*  Spatialization/higher-order Ambisonics
*  Standard and non-standard Sound Synthesis
 
Duration of residency: 4 months
Start date: September 1st 2024 (negotiable)
 
APPLICATION DEADLINE: March 31th 2024
 
 
Please reply to the official call by KUG for an University Assistant:
 
The Institute:
The Institute of Electronic Music and Acoustics is a department of the University of Music and Performing Arts Graz founded in 1965. It is a leading institution in its field, with more than 35 staff members of researchers and artists. IEM offers education to students in composition and computer music, sound engineering, sound design, contemporary music performance, and musicology. It is well connected to the University of Technology, the University of Graz as well as to the University of Applied Sciences Joanneum through three joint study programs.
 
The project results will be released through the Institute’s own Open CUBE and Signale concert series, as well as through various collaborations with international artists and institutions.
 
What we expect from applicants:
– A project proposal that adds new perspectives to the Institute’s activities and resonates well with the interests of IEM.
– Willingness to work on-site in Graz for the most part of the Residency.
– Willingness to exchange and share ideas, knowledge and results with IEM staff members and students, and engage in scholarly discussions.
– The ability to work independently within the Institute.
– A dissemination strategy as part of the project proposal that ensures the publication of the work, or documentation thereof, in a suitable format. This could be achieved for example through the release of media, journal or conference publication, a project website, or other means that help to preserve the knowledge gained through the Residency and make it available to the public.
– A public presentation as e.g. a concert or installation, which presents the results of the Residency.
 
What we offer:
– 24/7 access to the facilities of the IEM.
– Exchange with competent and experienced staff members.
– A desk in a shared office space for the entire period and access to studios including the CUBE [1], according to availability.
– Extensive access to the studios of the IEM during the period from July 1st until end of September.
– access to the IKOsahedron loudspeaker [2]
– access to the “Autoklavierspieler” [3]
– infrared motion tracking systems
– Regular possibilities for contact and exchange with peers from similar or other disciplines.
– Concert and presentation facilities (CUBE 30 channel loudspeaker concert space).
 
What we cannot offer to the successful applicant:
– We can not provide any housing.
– We also cannot provide continuous assistance and support, although the staff is generally willing to help where possible.
– We can not host artist duos or groups, because of spatial limitations.
– We can not offer any additional financial support for travel or material expenses.
 
Feel free to contact residency@iem.at if you have any questions.
 
[1] The Cube has a 30-channel loudspeaker system
 
///

Marion Czogalla

Geschäftsführung

initiative neue musik berlin e.V.

Littenstraße 10

10179 Berlin

Telefon +49 30 2424534

Mail marion.czogalla@inm-berlin.de

www.inm-berlin.de

www.facebook.com/initiative.berlin

DEGEM News – FWD – [ausland depesche] zukunftsfolklore und entfernte galaxien

Von: weekly ausland newsletter
Datum: Tue, 13 Feb 2024
Betreff: [ausland depesche] zukunftsfolklore und entfernte galaxien

hallo zusammen,
die reiseroute am kommenden wochenende führt von zukunftsfolklore mit
griechischen wurzeln, über anatolische klänge, bis in die entfernte
galaxie der experimentellen musik.

Friday, 16 February, 2024 – 20:00
ANTONIA KATTOU // MARLAIS // JIMMY TRASH

https://ausland.berlin/de/event/antonia-kattou-marlais-jimmy-trash

Saturday, 17 February, 2024 – 20:00
S E N S A R and DJ St.Eggs

https://ausland.berlin/de/event/s-e-n-s-a-r-and-dj-steggs

Sunday, 18 February, 2024 – 20:30
biegungen im ausland
Mariana Carvalho (solo) + Jérôme Noetinger & dieb13
Doors 20.30 Uhr | Concerts 21 Uhr | Tickets (Box Office) € 10,–
Mariana Carvalho (solo)
Mariana Carvalho – samples, speakers, transducers, voice

Jérôme Noetinger & dieb13
Jérôme Noetinger – reel-to-reel tape recorders
dieb13 – turntables

https://ausland.berlin/de/event/mariana-carvalho-solo-jerome-noetinger-dieb13

Friday, 23 February, 2024 – 20:00
Verlagslaunch edition das ausland: zu Gast im ausland
Einlass: 20:00 | Beginn: 20:30 Uhr | Eintritt frei
Heute wird die unabhängige Berliner Verlagsszene um eine Umdrehung reicher.
Susa AbdulMajid und Johann Wiede stellen im befreundeten
Produktionsort ausland ihren neu gegründeten Verlag edition das
ausland und die drei bisherigen Veröffentlichungen vor. edition das
ausland vereint junge internationale und deutschsprachige Positionen
aus Lyrik, Prosa, Essayistik und Dramatik. Es lesen und performen
Thaer Ayoub, Susa AbdulMajid und Johann Wiede.

https://ausland.berlin/de/event/verlagslaunch-edition-das-ausland-zu-gast-im-ausland

Saturday, 24 February, 2024 – 20:30
Matsuno | Okuda | Mills | Fischerlehner
Doors 20.30 Uhr | Concerts 21 Uhr | Tickets (AK | Box Office) € 10,–
Keisuke Matsuno – electric guitar
Rieko Okuda – piano
Kellen Mills – electric bass
Rudi Fischerlehner – drums

https://ausland.berlin/de/event/matsuno-okuda-mills-fischerlehner

wer die abkürzung nimmt, kommt direkt ins
ausland
Lychener Str. 60
10437 Berlin

S + U Bahn Schoenhauser Allee
Tram 12 Raumer Strasse
N 52 Eberswalder Str
+49 (0)30 44 77 008

Werdet Fördermitglied! –
Spendet für´s ausland!
Schickt uns eine Nachricht unter https://ausland.berlin/de/about#c172 Rubrik „Allgemein“

___
ausland *depesche* https://ausland.berlin

DEGEM News – FWD – ANTI-MATTER-PLANT :: Release 02 2004 – 2024

Von: Ephraim Wegner
Datum: Mon, 5 Feb 2024
Betreff: ANTI-MATTER-PLANT :: Release 02 2004 – 2024

#ANTI-MATTER-PLANT
http://www.anti-matter-plant.org/

2004 – 2024 :: 20 Jahre ANTI-MATTER-PLANT

Für das Jahr 2024 sind mehrere Veröffentlichungen geplant. Unter der Prämisse, den nostalgischen Blick nach hinten zu wagen, wird der heutige Standpunkt zu dem jeweiligen Werk – in Form des Erinnerns – persönlich durch die Urheber und Interpreten reflektiert.

Die Idee entstand beim Durchstöbern alter Festplatten: Auffällig war, wie viele musikalische Arbeiten der vergangenen Jahre liegen geblieben sind. Die Gründe hierfür sind sicher mannigfaltig. So war man beispielsweise nicht zufrieden mit der Arbeit, die gewünschten Labels hatten ihren Katalog bereits geplant oder das Projekt zerrüttete sich, aufgrund der sich immer wieder verändernden Lebensrealitäten beteiligter Akteure.

Es geht darum, in den Zwischenräumen zu suchen und dem ein oder anderen Werk den Weg aus dem Archiv in die Öffentlichkeit zu ebnen. Und darüber hinaus die nach Vorne orientierten und auf Effizienz getakteten Produktionsbedingungen in Frage zu stellen.

2005 Way Back Machine: https://web.archive.org/web/20050307025854/http://www.anti-matter-plant.org:80/

Release 02 2004 – 2024
Klaus Wallmeier, Thomas Wenk – Auf Schlag / Im Steinbruch der Klangfindung
http://www.anti-matter-plant.org/2024/02/im-steinbruch-der-klangfindung/

Zwei Suchende mit sehr unterschiedlichen Positionen treffen sich hier im offenen Raum – um im Moment alles zu geben und dann wieder eigene Wege zu gehen. Die Momentaufnahme eines ehrlichen Versuchs, ohne den Zwang eines festen Konzepts. Ohne die Fesseln eines Studios, ohne nachträglich aufpolierten Sound.

Verborgene Spitzen von Gesteinen
Geraschel, was nichts bedeutet
Ein Klavier, was sich gerade häutet
Verkürzt, zugespitzt, gemalt und geritzt

Ein Scheitern ohne Folgen – hier in Klang gesetzt.

Ephraim & Astrid Wegner
Dorfstraße 38
79194 Heuweiler

0157 30335712 || 0152 09841232

www.e-wegner.net
www.anti-matter-plant.org
www.cronicaelectronica.org

DEGEM News – FWD – [ak-discourse] Einladung zum Forschungskolloquium am 13. Februar 2024

Von: Andreev, Kirill
Datum: Fri, 9 Feb 2024
Betreff: [ak-discourse] Einladung zum Forschungskolloquium am 13. Februar 2024

Liebe Freunde der Audiokommunikation,

am kommenden Dienstag, den 13. Februar 2024, 16:00 Uhr im Raum EN 324 präsentiert Ali Diab seine Masterarbeit zum Thema

„Beyond Functionality: A Typological Exploration of Distinct Architectural Strategies for Fostering Creative Atmospheres in Recording Studios“.

Im Anschluss präsentiert Marius Seipel seine Masterarbeit zum Thema
„Improving speech enhancement models with neural post-processing“.
Dazu möchten wir Sie herzlich einladen. Eine Kurzzusammenfassung finden Sie am Ende dieser E-Mail.

Der Zoom-Link für auswärtige Gäste lautet:

https://tu-berlin.zoom.us/j/65603959784?pwd=ZEs1SkVrbFJzZ0pXeG9TSGp3YkI3UT09

Meeting-ID: 656 0395 9784

Kenncode: 20231009

Mit herzlichen Grüßen
Kirill Andreev & Stefan Weinzierl

Ali Diab: Beyond Functionality: A Typological Exploration of Distinct Architectural Strategies for Fostering Creative Atmospheres in Recording Studios

The evolution of music and its performance spaces have historically been intertwined. However, with the invention of sound storage and playback devices, a transformative shift occurred, giving rise to a new era marked by experimentation at the intersection of music and technology. Recording studios emerged as a significant adaptation to this technological progress, prompting an exploration into whether this typology was solely a consequence of technological advancements or if spatial considerations played a role. Examining successful music studios reveals a persistent influence of spatial quality and experience. While acoustical standards provide diverse solutions, architectural ideas offer opportunities to craft unique spaces with captivating atmospheres. Thus, this research hypothesizes that in today’s recording studios, often confined to rigid templates, it’s crucial to recognize the importance of creating recording spaces that go beyond mere functionality. These spaces should possess the ability to evoke an atmosphere that enhances the musicians‘ experiences, and help them reach their creative zenith.

Marius Seipel: Improving speech enhancement models with neural post-processing

Real-world audio is often degraded due to noise, distortion or low-quality equipment and therefore not suitable for high-quality speech applications. In this work, a state of the art speech enhancement and restoration network is utilized and further improved with the help of post-processing methods. In addition to a 1-D convolutional waveform-to-waveform network, a DSP normalization was used as a traditional comparison. The listening test results show small improvements in speech quality and overall quality for the post-processing and indicate that the standalone waveform-to-waveform post-processing network works.

Kirill Andreev

___

Sekretariat

Office

Technische Universität Berlin

Fakultät I / Inst. f. Sprache u. Kommunikation
FG Audiokommunikation / Sekr. EN 8 Raum 321

Faculty I / Institute for Language & Communication
Audio Communication Group / Office No. EN 8 Room 321

Einsteinufer 17, 10587 Berlin
GERMANY
+49 30 314-22236

kirill.andreev@tu-berlin.de

https://www.tu.berlin/ak

DEGEM News – FWD – IEM Graz, Call for Artistic Research residency 2024

Von: Daniel Mayer
Datum: Thu, 8 Feb 2024
Betreff: IEM Graz, Call for Artistic Research residency 2024

Dear Colleagues,

for your interest,

best regards

Daniel Mayer

https://daniel-mayer.at

///
IEM Music Residency Program 2024 – Call for Applications
University of Music and Performing Arts Graz (KUG)
https://iem.kug.ac.at

(please distribute)

The IEM – Institute of Electronic Music and Acoustics – in Graz, Austria is happy to announce its call for its 2024 residency program.

Artistic Research Residency

The residency is aimed at individuals wishing to pursue an artistic research project in close collaboration with an IEM staff member and related to the research fields of the IEM:

* Algorithmic Composition
* Algorithmic Experimentation
* Audio-Visuality
* Dynamical Systems
* Experimental Game Design
* Live Coding
* Sonic Interaction Design
* Spatialization/higher-order Ambisonics
* Standard and non-standard Sound Synthesis

Duration of residency: 4 months
Start date: September 1st 2024 (negotiable)

APPLICATION DEADLINE: March 31th 2024

Please reply to the official call by KUG for an University Assistant:
https://csc-kug.at/fileadmin/usr/all/documents/Stellenausschreibungen_2024_01/mb_10_s_3d_Ausschreibungstext_Inst17_Univ_Ass_kuenstlerische_Forschung_Residenz_I.pdf (in German and English)

The Institute:
The Institute of Electronic Music and Acoustics is a department of the University of Music and Performing Arts Graz founded in 1965. It is a leading institution in its field, with more than 35 staff members of researchers and artists. IEM offers education to students in composition and computer music, sound engineering, sound design, contemporary music performance, and musicology. It is well connected to the University of Technology, the University of Graz as well as to the University of Applied Sciences Joanneum through three joint study programs.

The project results will be released through the Institute’s own Open CUBE and Signale concert series, as well as through various collaborations with international artists and institutions.

What we expect from applicants:
– A project proposal that adds new perspectives to the Institute’s activities and resonates well with the interests of IEM.
– Willingness to work on-site in Graz for the most part of the Residency.
– Willingness to exchange and share ideas, knowledge and results with IEM staff members and students, and engage in scholarly discussions.
– The ability to work independently within the Institute.
– A dissemination strategy as part of the project proposal that ensures the publication of the work, or documentation thereof, in a suitable format. This could be achieved for example through the release of media, journal or conference publication, a project website, or other means that help to preserve the knowledge gained through the Residency and make it available to the public.
– A public presentation as e.g. a concert or installation, which presents the results of the Residency.

What we offer:
– 24/7 access to the facilities of the IEM.
– Exchange with competent and experienced staff members.
– A desk in a shared office space for the entire period and access to studios including the CUBE [1], according to availability.
– Extensive access to the studios of the IEM during the period from July 1st until end of September.
– access to the IKOsahedron loudspeaker [2]
– access to the “Autoklavierspieler” [3]
– infrared motion tracking systems
– Regular possibilities for contact and exchange with peers from similar or other disciplines.
– Concert and presentation facilities (CUBE 30 channel loudspeaker concert space).

What we cannot offer to the successful applicant:
– We can not provide any housing.
– We also cannot provide continuous assistance and support, although the staff is generally willing to help where possible.
– We can not host artist duos or groups, because of spatial limitations.
– We can not offer any additional financial support for travel or material expenses.

Feel free to contact residency@iem.at if you have any questions.

[1] The Cube has a 30-channel loudspeaker system
[2] https://iko.sonible.com/
[3] https://algo.mur.at/projects/autoklavierspieler

///

DEGEM News – FWD – [ak-discourse] CfP: Digital Technologies Applied to Music Research

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] CfP: Digital Technologies Applied to Music Research

Digital Technologies Applied to Music Research

Methodologies, Projects and Challenges

International Conference: Call For Papers

27-29 June 2024, School of Social Sciences and Humanities – NOVA University Lisbon

The ongoing digital revolution holds the potential to unveil unforeseen possibilities which could challenge and overturn traditional research methodologies and allow entirely new opportunities for music research.

This conference aims to foster interdisciplinary dialogue between music technology scholars and historical musicologists and to promote scholarly discussions on the applicability and usability of digital technologies to boost music research.

For more information, please consult our website: https://cesem.fcsh.unl.pt/en/2024/01/30/call-papers-digital-technologies-applied-to-music-research-2/

Topics

1. Digital technologies that have revolutionized music research

2. Digital archiving of musical heritage

3. Challenges in digital music preservation

4. How digital technologies help make music sources more accessible to researchers and musicians

5. Key challenges in applying digital technologies to music research

6. Ways in which large-scale search and music analysis are reshaping research questions

7. Successful music research projects that utilized digital technologies

8. Music encoding

9. Digital tools for analysing chant and secular monophonic song

10. How the role of digital technologies in music research evolved over time

11. Ways to effectively incorporate digital technologies into historical musicological research

12. How digital technologies enhance, or hinder, the process of music research

13. How digital technologies can benefit the study and preservation of early music

14. Utilizing AI in music analysis

15. Digital ethnomusicology

Keynote Speakers

· Ichiro Fujinaga, McGill University

· Jennifer Bain, Dalhousie University

Publication

A selection of papers will be invited for open access publication in a special issue and in a book (venues to be announced). Participants will be asked to submit extended versions of their papers and an ad-hoc scientific committee will monitor the quality and originality of the texts.

Deadlines

Paper and poster proposals should be sent to elsadeluca@fcsh.unl.pt and include the name of the author/s, institutional affiliation, title, abstract (c.400 words for papers, c.200 words for posters) and 3-5 keywords.

Deadline for proposals: 18 February 2024.

Notification of acceptance: 8 March 2024.

Conference: 27-29 June 2024.

Submission of final texts of invited papers for the book and the special issue: 30 September 2024.

Program committee

Elsa De Luca, CESEM-IN2PAST, NOVA University Lisbon (program committee chair)

Claire Arthur, Georgia Institute of Technology

Jorge Calvo, Universidad de Alicante

João Pedro d’Alvarenga, CESEM-IN2PAST, NOVA University Lisbon

Zuelma Paula Miranda Duarte Chaves, CESEM-IN2PAST, NOVA University Lisbon

Manuel Pedro Ferreira, CESEM-IN2PAST, NOVA University Lisbon

Jan Hajic, Charles University Prague

Debra Lacoste, Dalhousie University

David Lewis, University of Oxford eResearch Centre

Alberto Medina de Seiça, CESEM-IN2PAST, NOVA University Lisbon

Stefan Morent, Universität Tübingen

Fabian Moss, Institut für Musikforschung | Julius-Maximilians-Universität Würzburg

Kathleen Nelson, SCM, University of Sydney

David Rizo Valero, Universidad de Alicante

Santiago Ruiz Torres, Universidad de Salamanca

Mark Saccomano, Hochschule für Musik Detmold / Universität Paderborn

Craig Stuart Sapp, Stanford University, CCARH/PHI

Martha Thomae Elias, CESEM-IN2PAST, NOVA University Lisbon

Konstantinos Vasilakos, Xian Jiaotong-Liverpool University

Hana Vlhová-Wörner, Czech Academy of Sciences – University Basel

The conference will be in-person only, with online streaming of the project conference accessible to registered users. The conference will be followed by a workshop (29 June, afternoon) on the automatic analysis of early music.

DEGEM News – FWD – [ak-discourse] CFP: AI in the Creative Industries: An Interdisciplinary Conference

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] CFP: AI in the Creative Industries: An Interdisciplinary Conference

AI in the Creative Industries: An Interdisciplinary Conference [EXTENDED DEADLINE]

7th June 2024

Hosted by Futureworks, Manchester UK

Artificial Intelligence has advanced extremely rapidly over the past months. Responses have been polarized; with some predicting the end of the world and others celebrating a technology with the potential to create a new industrial revolution. The biggest difference between these new algorithmic technologies and those that preceded them are the potential for new AI models to generate creative content. Visual art, photography, literature and digital scripting have been produced by AI, to varying levels of success. To the existing debates around AI (questions of ethics, consciousness, or cyborg theory, for example) have arisen new problems regarding the role of art and the artist in the age, not of mechanical reproduction, but mechanical production. Can a robot be creative?

This conference aims to bring together researchers from across media studies, music and sound, the visual arts, video games, film and TV, animation, sociology, history, literature, politics, philosophy and aesthetic theory, to interrogate the growing role of AI in the creative industries, its potentials (both negative and positive), and how we are to react to the rise of AI as both tool and creator.

Abstracts for 20-minute papers are welcomed on subjects including, but not limited to:

· AI creativity: is it truly creative?

· AI and transhumanism

· AI and the question of consciousness

· Copyright law and artificial intelligence

· Utilization of AI as a creative tool

· The depiction of AI in creative media

· The ethics of AI usage and its potential to help or harm

· The aesthetics of artificial intelligence

Please submit 250 word abstracts with accompanying 50-word bio and 5 keywords to organizer joe.darlington@futureworks.ac.uk by 29th February 2024. Submissions are encouraged from academics, postgraduate researchers and non-academic speakers alike. Creative practitioners are also welcome, as are those working in the production or utilization of AI.

DEGEM News – STELLENAUSSCHREIBUNG – [ak-discourse] PhD positions at the MTG in the context of a Chair on AI and Music (Barcelona, Spain)

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] PhD positions at the MTG in the context of a Chair on AI and Music (Barcelona, Spain)

 

PhD positions on AI and Music 

Application deadline: March 19th 2024
Starting date of PhD: October 2024

In the context of the UPF-BMAT Chair on AI and Music, we offer 6 PhD positions to cover various topics related to the development of AI models to support the music sector. These topics are:

  1. Sound and music representation learning.
  2. Multimodal music processing.
  3. Machine listening.
  4. Generative music.
  5. Computational musicology.
  6. Music performance analysis.

All PhD students are expected to contribute to various stages of AI model development, including in dataset curation, model architecture and training pipeline design, comprehensive validation of the resulting models, and integration into ready-to-use software tools and APIs that the MTG is developing, such as Essentia and Freesound.

The Music Technology Group (MTG) of the Universitat Pompeu Fabra in Barcelona, part of its Department of Information and Communication Technologies, aims to advance information and communication technologies related to sound and music through competitive research at the international level while transferring its results to society. To achieve this goal, and guided by our values, the MTG strives to strike a balance between basic and applied research and encourages interdisciplinary approaches that incorporate knowledge and methodologies from both scientific/technological and humanistic/artistic disciplines.

We are seeking candidates with the following qualifications:

  • Completed or soon-to-be completed master’s studies in Computer Science, Electronic Engineering, or Music/Audio Technology.
  • Research experience in the PhD topic being applied for.
  • Experience in machine learning and audio signal processing.
  • Strong programming skills in Python and C/C++.
  • Musical training (in performance, production, composition, or theory).
  • Fluency in English (written and spoken).
  • Ability to work in interdisciplinary teams and multicultural environments.
  • Passion for research and alignment with the MTG’s values.

MTG is committed to fostering a diverse and inclusive community and incorporates these principles into our student admissions processes. We particularly welcome applications from women and underrepresented groups, as well as from applicants in all stages of life.

The UPF-BMAT Chair on Artificial Intelligence and Music is an initiative of the Music Technology Group (MTG) at the Department of Engineering of Universitat Pompeu Fabra (UPF), in collaboration with BMAT, a company specializing in music technology. The Chair is part of the National Artificial Intelligence Strategy (ENIA), co-funded by the Ministry of Economic Affairs and Digital Transformation of Spain and BMAT Music Innovators. The Chair’s research focuses on AI methodologies for music creation, production, distribution, protection, licensing and education, with a specific emphasis on developing technologies to support the music sector.

Once selected, the successful candidates will enroll in the PhD program of the Department of Information and Communication Technologies at UPF. Practical and administrative information about the PhD program, including admission requirements, are available here: https://www.upf.edu/web/etic/admission.

Interested individuals should send their CV, a motivation letter, and a preliminary draft of a thesis proposal outlining a possible research plan related to one of the proposed research topics to mtg-info@upf.edu.

  • Music performance analysis.

 

More information:

PhD positions on AI and Music

upf.edu

 

Xavier Serra

Music Technology Group

Universitat Pompeu Fabra, Barcelona

https://www.upf.edu/web/xavier-serra

 

 

 

 

DEGEM News – STELLENAUSSCHREIBUNG – [ak-discourse] Job offer: Assistant Professor in Popular Music, Sound and Media Cultures

Von: Lepa, Steffen via ak discourse
Datum: Wed, 7 Feb 2024
Betreff: [ak-discourse] Job offer: Assistant Professor in Popular Music, Sound and Media Cultures

Assistant Professor in Popular Music, Sound and Media Cultures (1.0 FTE) (V23.0845)
Job description

The Faculty of Arts is seeking one full-time Lecturer (Assistant Professor, in Dutch: Universitair Docent) in Popular Music, Sound and Media Cultures. Candidates should have a demonstrable record of excellence in teaching, experience in researching popular music, and exhibit knowledge of a range of analytical perspectives including music/sound and intermediality, and critical theory.

Our preferred candidate will be adept at analysing contemporary popular culture and the intersections of music and technology, and will be prepared to engage in teaching that addresses topics such as online performance, transmedia storytelling, new forms of cultural expressions such as memes, Tik Tok, interactive/VR music videos, AI music, intertwinement of digital and analog cultural practices, participatory culture, and political polarisation.

Musicological and/or practice-based areas of speciality may include – but are not limited to – popular music studies; ludomusicology; electronic dance music studies and practice; ethnomusicology; practice-centred musicology; and/or music production/music production studies. Knowledge of the interrelations between popular music (especially in European, Dutch and/or German contexts and/or the Global South) and other arts disciplines and fields including film studies, theatre and performance art, visual arts, literature, and dance is also valued.

Research is conducted within the Groningen Institute for the Study of Culture (ICOG) and its Research Centre Arts in Society, specifically the Music, Sound and Culture research group. ICOG and the Faculty of Arts provide ample support in applying for bids with national and international funding agencies. There is also an annual travel budget for conference participations and other research-related activities.

Specific tasks:

teach and supervise students in the department’s undergraduate and graduate programmes, specifically popular music and interarts related courses (e.g., Mediality and Intermediality and Narrativity across Media) as well as in the specialisation of Popular Music, Sound and Media Cultures in the MA program of Arts & Culture
participate actively in curriculum development, design and administration of course modules
generate high-quality research
external grant acquisition
participate actively in international research networks
participate in the activities of the interdisciplinary research centre Arts in Society and (one of) its theme groups (such as ‘Music, Sound and Culture’, ‘Film and Contemporary Audiovisual Media,’ ‘Narrative in/and Art’)
performing administrative and organisational duties.

Organisation
Since its foundation in 1614, the University of Groningen has established an international reputation as a dynamic and innovative university offering high quality teaching and research. Its 34,000 students are encouraged to develop their individual talents through challenging study and career paths. The University of Groningen is an international centre of knowledge: it belongs to the best research universities in Europe and is allied with prestigious partner universities and networks worldwide. For additional information see (www.rug.nl/about-ug/work-with-us/new-staff/). The University of Groningen has a strong commitment to the principles and practices of diversity and inclusion throughout its community and welcomes candidates who enhance this.

The Faculty of Arts is a large, dynamic faculty in the heart of the city of Groningen. It has more than 5000 students and 700 staff members, who are working at the frontiers of knowledge every day. The Faculty offers a wide range of degree programmes: 16 Bachelor’s programmes and over 50 Master’s tracks. Our research, which is internationally widely acclaimed, covers the following fields: Archaeology, Cultural Studies, History, International Relations, Journalism, Language and Literary Studies, and Linguistics.

Music is one of the three arts disciplines represented in the programme Arts, Culture and Media, together with film and theatre. The music programme provides an overview of relevant theoretical models, drawing in particular from the disciplines of cultural studies, ethnomusicology, musicology, media studies, and theories of race, gender, sexuality, and ethnicity.
Qualifications

The successful candidate will have:

an awarded or completed PhD in music studies or a relevant field
teaching experience at HE level and proven teaching skills
excellent command of English (at least CEFR C1 level for reading, listening, writing, and speaking)
gained the Dutch University Teaching Qualification (BKO) (desirable).

Organisation
Conditions of employment

The University of Groningen offers in accordance with the Collective Labour Agreement for Dutch Universities:

a salary, depending on qualifications and work experience, with a minimum of € 4,332 (salary scale 11) to a maximum of € 6,737 (salary scale 12) gross per month for a full-time position
a holiday allowance of 8% gross annual income
an 8.3% end-of-the-year allowance
participation in a pension scheme for employees.

Favourable tax agreements may apply to non-Dutch applicants. We offer 232 holiday hours per calendar year for full-time employment and provide career services for partners of new faculty members moving to Groningen.

The Faculty will consider only those applicants who are ready to move to Groningen and live in the near environment of Groningen within a period of two years.

We comply with the conditions of employment of the Collective Labour Agreement for Dutch Universities (CAO NU). For more detailed information about working conditions and working for the University of Groningen, please check: https://www.rug.nl/about-us/work-with-us/

The appointment will be on a temporary basis for one year with an outlook to a permanent position when you meet the criteria.

The University of Groningen is an equal opportunity employer and is committed to building a diverse faculty. All qualified applicants will receive our full consideration. Female applicants are strongly encouraged to apply. For more detailed information about working conditions and working for the University of Groningen, please check: https://www.rug.nl/about-us/work-with-us/
Application

Applications should consist of:

a letter of motivation
a CV including (i) a detailed overview of previous teaching; (ii) an abstract for your PhD; (iii) publications
a statement outlining your approach to teaching
student evaluations of previously taught courses (where available)
the names and addresses of two academic referees (only short-listed candidates will be asked to contact these).

You may apply for this position until 3 March 11:59pm / before 4 March 2024 Dutch local time (CET) by means of the application form (click on „Apply“ below on the advertisement on the university website).

The University of Groningen strives to be a university in which students and staff are respected and feel at home, regardless of differences in background, experiences, perspectives, and identities. We believe that working on our core values of inclusion and equality are a joint responsibility and we are constructively working on creating a socially safe environment. Diversity among students and staff members enriches academic debate and contributes to the quality of our teaching and research. We therefore invite applicants from underrepresented groups in particular to apply. For more information, see also our diversity policy webpage: https://www.rug.nl/(…)rsity-and-inclusion/

Our selection procedure follows the guidelines of the Recruitment code (NVP): https://www.nvp-hrnetwerk.nl/nl/sollicitatiecode and European Commission’s European Code of Conduct for recruitment of researchers: https://euraxess.ec.europa.eu/jobs/charter/code

We provide career services for partners of new faculty members moving to Groningen.

Unsolicited marketing is not appreciated.
Information

For information you can contact:

Dr Chris Tonelli, Assistant Professor in History and Theory of Popular Music (about the position), c.j.tonelli@rug.nl

Please do not use the e-mail address(es) above for applications but the web form on this page: https://www.rug.nl/about-ug/work-with-us/job-opportunities/?details=00347-02S000AJQP

DEGEM News – FWD – Newsletter Februar – Marcus Beuter

Von: Marcus Beuter
Datum: Wed, 7 Feb 2024
Betreff: Newsletter Februar – Marcus Beuter

Liebe Freunde der Klangkunst,

zur Zeit befinde ich mich auf einer einjährigen Reise durch Zentral- und Ostasien, unter Anderem zur Recherche und Materialsammlung für eine Klanginstallation. Daher erscheint der Newsletter sehr unregelmäßig.

Ich freue mich für den Februar zwei Auftritte in Peking ankündigen zu können:

Performance mit dem chinesischen Klangkünstler Yan Jun am Dienstag, den 27.02.24 in Xiaoye 小野 in Peking. Zwei Solosets und eine gemeinsame Improvisation.

Performance mit dem chinesischen Schlagzeuger Liu Pi am Donnerstag, den 29.02.24 in Sound Art Museum in Peking. Performance und artist talk.

Herzliche Grüße,
Marcus Beuter

Und dann:
01.09.24 Eröffnung der Klanginstallation von hier aus, Kunstverein Bochum (bis 20.10.)
02.09.24 Jour fixe zur Klanginstallation von hier aus bei der Cooperativa Neue Musik, Bielefeld
03.11.24 Eröffnung der Klanginstallation von hier aus, Kunstverein Kreis Gütersloh (bis 15.12.)
07.01.25 Jour fixe zur Klanginstallation Endloser Terror bei der Cooperativa Neue Musik, Bielefeld
23.01.25 Eröffnung der Klanginstallation Endloser Terror, tba (bis 27.01.)

Online hören und schauen:
https://vimeo.com/marcusbeuter
https://marcusbeuter.bandcamp.com/
www.soundcloud.com/marcus-beuter

www.marcusbeuter.de
geplante-obsoleszenz.eu/
Impressum

DEGEM News – BERLIN – [ausland depesche] frischer anstrich & frisches programm

Von: weekly ausland newsletter
Datum: Tue, 6 Feb 2024
Betreff: [ausland depesche] frischer anstrich & frisches programm

liebe alle*,

wir begrüßen euch im neuen jahr in unseren frisch gestrichenen räumen,
z.B. gleich jetzt am wochenende:

…[cut]

Friday, 16 February, 2024 – 20:00
ANTONIA KATTOU // MARLAIS // JIMMY TRASH

https://ausland.berlin/de/event/antonia-kattou-marlais-jimmy-trash

Saturday, 17 February, 2024 – 20:30
Gazino Neukölln

https://ausland.berlin/de/event/gazino-neukoelln

Sunday, 18 February, 2024 – 20:30
Mariana Carvalho (solo) + Jérôme Noetinger & dieb13
Doors 20.30 Uhr | Concerts 21 Uhr | Tickets (Box Office) € 10,–

Mariana Carvalho – samples, speakers, transducers, voice

Jérôme Noetinger & dieb13
Jérôme Noetinger – reel-to-reel tape recorders
dieb13 – turntables

https://ausland.berlin/de/event/mariana-carvalho-solo-jerome-noetinger-dieb13

bis bald im
ausland
Lychener Str. 60
10437 Berlin

S + U Bahn Schoenhauser Allee
Tram 12 Raumer Strasse
N 52 Eberswalder Str
+49 (0)30 44 77 008

___
ausland *depesche* https://ausland.berlin

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