Deadline: July 7, 2006
EPSRC Research Studentship in Soundscapes
The Acoustics Research Centre has recently been awarded a large research grant by the Engineering and Physical Science Research Council (EPSRC) for a project called ‘The Positive Soundscape Project: A re-evaluation of environmental sound.’ This is a joint project with the Universities of Warwick, Lancaster, London (Arts) and Manchester Metropolitan. We are seeking a full time PhD research student for the project. The studentship will start on 1 October 2006 and last for three years. The student will be based in Salford but there will be opportunities to work with and visit investigators and researchers based at the other project centres.
The project has three main strands: quantitative psychoacoustics, qualitative social science, and art. Outputs from each will inform the other two, and each will help to provide a context and validation for the others. You will focus particularly on integrating the qualitative and quantitative elements. This will involve performing psychoacoustic experiments, conducting focus groups and interviews, qualitative analysis, statistical analysis and more. The work will therefore suit an open-minded researcher with a background in at least one of the disciplines above but with a strong interest in learning about the others. You would be expected to help the three post-doctoral research fellows where appropriate. This project will give you a unique and specialised mix of skills and a rare opportunity to work with leading researchers in several different fields. You will be supervised by the Principal Investigator at Salford, Dr Bill Davies. You can read more about the project and download the bid document at www.acoustics.salford.ac.uk/soundscapes
The studentship is open to UK and EU students, under the usual EPSRC rules. For UK students, it provides a bursary at the standard national rate (currently £12,300 per annum) and additionally covers the university tuition fees. For an EU student, there is no bursary – only the tuition fees are paid for. To qualify for either UK or EU status you need to be resident in the relevant country for a period of at least 3 years immediately prior to the date of application.
You should hold, or be about to obtain, a First or Upper Second Class Honours degree or equivalent in an appropriate discipline and be prepared to register for a Ph.D.
Salford University has a history of over 30 years of research work in acoustics and the Acoustics Research Centre was rated 6* in RAE 2001. The Centre has a large team of 15 academic and research staff and has a portfolio of fundamental and applied research projects. The Centre is part of the University’s Research Institute for the Built and Human Environment. For more details see www.acoustics.salford.ac.uk/research/
Enquires to Dr Bill Davies
Tel : 0161 295 5986; Email : firstname.lastname@example.org
To apply, send your detailed CV and covering letter to: Dr Bill Davies, School of Computing, Science and Engineering, Newton Building, University of Salford, Salford M5 4WT. Electronic submission is acceptable.
Notes to applicants:
It is vital to give a detailed CV and covering letter when applying. Please do not just send a list of qualifications and not much else. In the covering letter, you should explain why your background and experience make you a good candidate for this studentship. Read the bid document. If you have research ideas about the project, tell us about them! We want to know why you believe you are the suitable candidate for this position.
Deadline: July 15- Call for Submissions. Tempography is a new international art form that examines the unexplored zone between the moving and the still image. The pieces are called"tempographs". They are still images extended in time. Each piece must be less than 30 seconds long. They are shown in sequences, with black before and after. A Tempography exhibition will take place at the cinema Zita in Stockholm in August. This is a call for submissions. Please have a look at the website: www.tempography.org for more information, and for the ever-important guidelines.
Deadline 21 July
Call For Proposals: Peter Stuyvesant's Ghost - Digital sound files
Final Nature of Artistic Contribution: Digital sound files of up to 1 minute to be accessed during performance dates via pay or cell phone. They may also be available on a CD. We are looking for both 'realistic' and interpretive reactions to historical information. The terrain this project will cover (pictured above) is the footprint of Peter Stuyvesant’s original farm (Bouwerie), which included the area from 4th Ave. to the original East River shore, and from 4th Street to 22nd Street. Files will be archived and accessible on the internet after the performance dates.
Date of Event: November 15-19, 2006 Specific Event Description: A self-guided walk through the area of Peter Stuyvesant’s farm, using a printed map and utilizing cell or payphones to access a central open-source telephony server (Asterix). The printed material will indicate a route around the farm, with specific points indicated where participants are asked to stop and call into the server. A payphone will be available at all chosen points. After making the phone call, the participant will dial the message code indicated for that particular site, thereby accessing a short (no more than 1 minute) sound file made in response to historical/topographical information provided to the artist about the site, which could include information about Dutch cows and pigs, church bells, hymns, language; memories of shops, streets, sounds of Holland; local sounds of nature (wind, birds, water); local work sounds (blacksmiths, milking, carpentry, printing); or other
information suggested by artists.
Overall Project Description: PSG is a civic art project, inspired by the rapid cultural and physical changes engendered in this area by the Dutch colonial period. PSG encourages a multi-leveled understanding of the place that the East Village is now. Using sound as the primary performance medium, tapping into the visceral, non- cognitive response that hearing, like smell, tends to generate, PSG explores the contemporary topography while making palpable the pre-urban terrain of Peter Stuyvesant’s 17th century farm. Through guided walks and discussion forums PSG will facilitate activities that connect past with current truths, and, perhaps, visions for the future, as alternative realities flicker briefly into life, and historical and environmental perceptions are deepened. The overall goal is a rich, many-layered experience of this terrain, literally moving audiences through it, primed for careful listening to what is currently here to be heard, while opening up imagination, and awareness of the past.
Specifically, PSG aims to: facilitate active participation on the part of a widely varied audience; consciously link art and performance making with history; invite contributions from artists that maintain this dual focus on historical relevance and an actively participating audience; bring together NYC- and Netherlands-based contributors; and explore the role of history in bringing the present into sharper focus.
- July 21, 2006: 100 WORD TEXT ONLY description of your idea and contact info emailed to: email@example.com
- July 30, 2006: Notification of acceptance of idea
- August 15, 2006: Bios and descriptive text for program (guide map) due
- September 15, 2006: Soundfile due
- November, 15-19, 2006: Performance dates
Coordinators: Lise Brenner, Ryan Holsopple, Michelle Nagai
Contact for Questions: Lise Brenner - firstname.lastname@example.org
Deadline 21 July
Call For Papers (Abstracts)
SoundAsArt Conference: SoundAsArt: Blurring of the Boundaries
Aberdeen, Scotland November 24th, 25th, and 26th
Over the past several years a growing fascination with the emerging art form Sound Art, has become prevalent within arts communities and academia. But what is it, how is it defined, and what is the impact on current practices of composers, artists, and those working in related fields (video, sculpture, architecture etc.)?
The SoundAsArt conference hopes to explore some of these boundaries, blurry though they may be, with the goal not of definition but of exploration. It is a peculiar characteristic of this art form to revel in the blurring of distinctions, the crossing of disciplinary boundaries, and the redefining of practices.
The conference will take place over a three day period and will feature papers/talks, installations, soundwalks, and performances. The entire content of the conference will be documented for release and made available online in pdf/mp3 format.
We welcome papers on the topic of sound art that address questions of origin, exploration of boundaries between related practices, investigations of current practices, and speculation on the future development of sound art. Papers by individuals wishing to present their own work in relation to these issues are also welcome.
For submission information go to the conference website at: http://soundasart.urbannovember.org
Deadline 1 August.
Journal: Music, Sound, and the Moving Image
Call For Articles
"Music, Sound, and the Moving Image" will be the first international scholarly journal devoted to the study of the interaction between music and sound with the entirety of moving image media film, television, music video, advertising, computer games, mixed-media installation, digital art, live cinema, et alia. To be published by Liverpool University Press and co-edited by Anahid Kassabian (Liverpool University) and Ian Gardiner (Goldsmiths College), the journal will be truly interdisciplinary, inviting contributions across a range of critical methodologies, to include musicology and music analysis, film studies, popular music studies, cultural theory,
aesthetics, semiotics, sociology, marketing, sound studies, and music psychology. It is hoped that the journal also will provide an important focus for the similarly diverse and expanding community of media music scholars.
The journal will be published twice a year, beginning January 2007, and its first issues will be open, embracing this diversity of topics and approaches. As it progresses it is intended that themed issues, under a guest editor, will alternate with open issues, perhaps encouraging writers to explore areas under-represented in current literature. The editors welcome contributions offering the
broadest interpretation of the journal's title, not only seeking to build upon the existing scholarship on film music and film sound, but also to challenge its theoretical assumptions, and to extend its boundaries to include the full variety of moving image media and traditions.
Submissions for the inaugural issue should be e-mailed, by 1 August 2006, as Microsoft Word documents to: email@example.com Enquiries or requests for style guidelines should also be directed to this address.
Call for Works
11th Annual Santa Fe International Festival of Electroacoustic Music
College of Santa Fe Contemporary Music Program
College of Santa Fe
Santa Fe, New Mexico, USA
Submissions are being accepted for consideration for programming for the 2007 Santa Fe International Festival of Electroacoustic Music in two categories: 'Radio broadcasts' and 'Ambient sound installations.' Full information on both categories and submission details can be found on the 'Call for Works' link on the festival website.
SFIFEM is a program of the Contemporary Music Program at the College of Santa Fe in Santa Fe New Mexico, USA.
Atrium Sound Space
College of Santa Fe
Santa Fe, New Mexico, USA
The Atrium Sound Space is accepting submissions of multi-CD based sound installations for programming consideration.
The Atrium Sound Space is a gallery for sound installations located in the lobby of Benildus Hall, on the College of Santa Fe campus in Santa Fe, New Mexico. Dedicated to presenting sound installations as sonic environment in public spaces, the Atrium Sound Space runs continuously throughout the year - 24 hours a day, 7 days a week.
Though the Atrium Sound Space will be formally launched in early Fall 2006, it has already hosted installation pieces by Peter Swanzy and Al Margolis (in conjunction with the Santa Fe International Festival of Electroacoustic Music), and Steven M. Miller. The Fall schedule will be announced in September.
Sound artists interested in submitting pieces for programming consideration can find technical specifications and submission guidelines/information on the Atrium Sound Space submissions page.