Von: Kevin Austin via cec conference
Datum: Sat, 2 Feb 2019
Betreff: [cec-c] Call for contributions: Convergence—An International Conference/Festival of Music, Technology and Ideas
The Music, Technology and Innovation—Institute for Sonic Creativity ( MTI2 ) at De Montfort University, Leicester, UK is delighted to announce the launch of Convergence, a conference/festival exploring music and technology.
Please note the dates of the conference are 2019 September 12-15, deadline for submissions is 2019 March 31.
We are also delighted to announce that the keynote speaker and guest composer will be Curtis Roads, courtesy of the US Embassy and the British Association of American Studies.
For enquiries please use: firstname.lastname@example.org
Hope to see you in Leicester in September!
A Conference/Festival exploring Music and Technology
CALL FOR CONTRIBUTIONS — PAPERS AND MUSIC
21st century musical creativity rides on the convergence of many streams of musical cultures, styles and value systems. The previous century’s passage through modernist and postmodern imperatives has propelled us into a state of glorious collision, where tradition and innovation coexist in fusion and confusion. New technologies are a central element in this creative ferment – from elaborate, immersive multichannel and audiovisual environments, expressions of artificial intelligence and transmedia narratives to hardware hacking.
How might we make sense of this multiplicity of creative endeavours? What are the tensions and synergies we feel amongst the creative approaches of practitioners and between the insights of theorists and critics? What, if anything, might we sense is our relationship with the ideals and cultural products of the past?
Convergence 2019 proposes that we consider these issues from the perspectives of complexity and simplicity. Can we conceive ever more elaborate designs and complex ways to divine meaning in music, or should we find in the plethora of possibilities a path that leads to a more immediate clarity, even simplicity? And how, as curators of our artistic fate, might we expect 21st century audiences to respond?
Convergence aims to bring together many of the diverse strands of music made with new technologies and to celebrate these alongside some traditional practices. In 2019 we will also be working with the Darbar Fringe Festival to bring high quality traditional and experimental Indian music projects to the conference.
Scholarly papers on any aspect of the application of new technologies to music are welcome, including, but not limited to:
• compositional methods
• structure of sound
• listening behaviours
• music and environment
• sound ecology
• auditory perception
• collaborative processes
• software design
• artificial intelligence
• educational initiatives
• cultural contexts
• historical studies
• mixed media
• modes of performance
Papers demonstrating a sufficient connection to the conference theme will be given preference.
Papers will be allocated 30 minutes in total—20 minutes presentation (including any audio/video examples offered), plus 10 minutes for questions.
Abstracts should be no more than 3,500 characters in length and clearly summarise the aims, methods and results of the research.
Please complete your paper submission here:
Submissions should be in the form of a link to summary document, no more than two A4 pages in length, minimum font size 11point and may include example images. Any additional technical requirements should also be specified. The content should summarise the research aims, methods and outcomes clearly and concisely. Selected poster presentations will be supplied by conference delegates in A1 format, and should be designed to be legible from approx. 1.5m.
Please complete your poster submission here:
Music and Installations
We welcome all forms of music made entirely by or with the assistance of digital or other electronic technologies—with or without conventional instruments eg. acousmatic, audiovisual, live performance with computers, mixed instrumental-electroacoustic works, hardware hacking/DIY, etc. Performances demonstrating a novel approach to acoustic sound sources are also welcome.
• We will accept up to two music submissions per applicant, but will limit final selection to one work per person.
• Music employing up to 16 channels of audio can be considered.
• Preference will be given to music with a performance duration of no more than 12 minutes and demonstrating a sufficient connection to the conference theme.
• Convergence will not be able to supply performers—instrumentalists must be supplied by composers and it will unfortunately not be possible to offer fees to performers.
• Bespoke materials or resources, such as modified instruments or hardware essential to the work to be performed must be supplied by participants.
In the application portal below, please include a permanent web link appropriate to the nature of your work (eg Website, Google Drive, Dropbox, Vimeo – please do not use a time-limited method such as Wetransfer).
• For acousmatic/audio only work, include files used in performance and a stereo version (binaural is acceptable) and a sound projection plan for multichannel works.
• For work involving traditional instrumentalists/live performance include a score, where relevant, and indicative recording/realisation.
• For work involving other forms of performance (eg. hacked hardware, live [performance] art focused, DJ-ing, mixed media, live coding), please provide an online video link (Vimeo, etc) in addition to a brief statement of concept.
• For audiovisual submissions, please include a link to a streaming site (eg Vimeo). AV work selected for Convergence must then be provided as MP4 or MOV containers, normally withH264 or Apple ProRes compression, up to 1920×1080 resolution, 25 or 30 FPS, and audio at least 48kHz/16 bit, in up to 7.1 format.
• We welcome installations with a clear focus on audio content and a limited number may be presented at Convergence, depending on the required resources and suitable match between available spaces and the nature of the work. In your submission please include a full description of content and concept, visual layout, example images (still or moving), an indication of suitable types of spaces and a stereo audio example.
Please complete your music/installation submission here:
De Montfort University is located in the heart of the city of Leicester—one of the UK’s most vibrantly multicultural cities. A city with Roman heritage, Leicester is also the recently established resting place of King Richard III, controversial subject of one of Shakespeare’s greatest plays. De Montfort University’s MTI2 Institute for Sonic Creativity has been established as a leading international centre for electroacoustic music for over two decades and builds on Leicester’s reputation as a focal point for experimental music-making.
Information on the DMU campus can be found here : https://www.dmu.ac.uk/campus/campus.aspx
Prof. John Young
Professor of Composition
Institute for Sonic Creativity, De Montfort University
Leicester LE1 9BH, UK
Tel: +44 116 207-8220