Deadline: November 15, 2011 - Call for Proposals: ISEA2012 Albuquerque: Machine Wilderness. ISEA2012 is a symposium and series of events exploring the discourse of global proportions on the subject of art, technology and nature. There are over 20 special projects artists can apply to and the list is growing and acoustic ecology-related proposals are especially welcome!
Proposals may include:
* Residencies/Site Projects
The ISEA2012 symposium will consist of a conference September 19 - 24, 2012 based in Albuquerque, New Mexico (USA) with outreach days along the state's "Cultural Corridor" in Santa Fe and Taos, and an expansive, regional collaboration throughout the fall of 2012, including art exhibitions, public events, performances and educational activities. This project will bring together a wealth of leading creative minds from around the globe, and engage the local community through in-depth partnerships.
Machine Wilderness references the New Mexico region as an area of rapid growth and technology alongside wide expanses of open land, and aims to present artists' and technologists' ideas for a more humane interaction between technology and wilderness in which "machines" can take many forms to support life on Earth. Machine Wilderness focuses on creative solutions for how technology and the natural world can sustainability co-exist.
The program will include: a bilingual focus, an indigenous thread, and a focus on land and skyscape. Because of our vast resource of land in New Mexico, proposals from artists are being sought that will take ISEA participants out into the landscape. The Albuquerque Balloon Museum offers a unique opportunity for artworks to extend into the sky as well.
The lead organizations hosting ISEA2012 are 516 ARTS, The University of New Mexico and The Albuquerque Museum of Art & History. There are a total over 50 partnering organizations to date representing museums, colleges, nonprofit arts organizations, environmental organizations and the scientific and technological communities. Full details available online: ISEA2012: Machine Wilderness
Deadline: November 15, 2011 - Call for electronic and electroacoustic sound works: Zeppelin2011. Zepplin2011 is devoted to the influence of economic change on soundscape. We invite anyone interested in sound to think about this matter and send us sound works based on any document belonging to the Sounds in Cause Archive. Visit Sounds in Cause for more information. The pieces will be played through a system of 16 loudspeakers on December 9 & 10, 2011 at the Barcelona Centre for Contemporary Culture. Pieces should be NO LONGER than ten minutes, and in the format of WAV or AIFF at 44.1 kHz and 16 bits. Pieces may have up to 16 tracks. For submission details and other questions, please contact us at caos@sonoscop.
Deadline: November 22, 2011 5th WSEAS International Conference on Urban Planning and Transportation (UPT '12) and WSEA International Conference on Cultural Heritage and Tourism (CUHT' 12). Both conferences held in February, 2012. After the unparalleled success of the 2010 and 2011 conferences in Cambridge, UK, you are kindly invited to submit a paper to one of the upcoming conferences organized by WSEAS and associates, depending on your specialization. Visit the web site of either conference for all the information that you need. Each page has a submission link for you to upload your papers. Kindly note that we do not accept papers by email and that you should only upload your full paper as we do not accept abstracts. Web sites: UPT '12 and CUHT '12
Deadline: November 26, 2011 - Call for sound and language works for Requited web magazine and performance event. Requited magazine is seeking multi-media and performative works attentive to language as sound for (at least one of) two contexts: web and live performance. Works straddling the divide or which can exist as complimentary parts in these contexts are welcome and encouraged.
Consider the psychological and phenomenological aspects of the reception and manifestation of sound as a linguistic act, as a revisitable document, as an intangible moment on breath and a long distance transmittable gesture. Consider the history of the textual document and its relationship with the relatively young sonic document. Consider the performance of sound as language, or stunningly lacking thereof. Consider methods of transmission and reception, the notable and the mundane, the intentional and unintentional, public and private, seen and heard.
Submit proposals, works, texts, files, etc to guest editor:
Ryan T Dunn
1550 N Milwaukee Ave Fl 3
Chicago, IL 60622
Deadline: December 15, 2011 - Call for contributions. The Journal of Sonic Studies. The Journal of Sonic Studies (JSS) is a peer-reviewed, online, open access journal providing a platform for theorists and artists who would like to present relevant work regarding auditory cultures, to further our collective understanding of the impact and importance of sound for our cultures.
The second issue of JSS will have its focus on listening. Music, sound art, and acoustic design can contribute a great deal to the human capacity to listen, to listen to subordinated or unheard voices and sounds, to listen differently to everyday sounds, to listen attentively, cautiously, and respectfully. This might even be one of the most significant contributions the sonic arts are able to make to our contemporary cultures.
The editors of JSS welcome both scholarly and artistic research. In both cases, priority is given to those contributions which explicitly use the Internet as a medium, e.g. by inserting A/V materials, hyperlinks, and the use of non-conventional structures. We do expect all contributions to have a firm theoretical grounding.
Besides original contributions, the editors are also willing to publish creative reviews or rereadings of books dealing with the topic of listening. (E.g. Jean-Luc Nancy’s A l’écoute, Peter Szendy’s Ecoute: une histoire de nos oreilles, David Levin’s The Listening Self or Pauline Oliveros’ Deep Listening)
Contributions can be sent by email to one of the editors:
Marcel Cobussen M.A.Cobussen@umail.leidenuniv.nl
Vincent Meelberg firstname.lastname@example.org
Deadline: December 16, 2011 - Call for the submission of abstracts. Interference: a Journal Of Audio Culture calls for submissions on the theme: Noise Please. As seen with the growing vocabularies of dissonance, the retro-commodification of glitch aesthetics, and the many rich-media anthologies now exclusively devoted to the characterization of noise, the act of qualification frequently absorbs difference. In distributing this call for papers, therefore, it is not an ontology we seek, but a necessary reflection on the politics of noise as these relate in turn to new media ecologies, cultural practices and fluctuating modes of governance. We invite papers that deal not only with categories of aesthetic dissonance or vibrational force, but invite an expanded view of noise as a collection of sonic strategies that engage social, technical, political and economic concatenations: The Politics of Dissent; Noise and the Body; Material; Music; Sensory Anthropologies of Noise and Silence; Political Economy of Noise; Counter-Theory; Technologies of Noise; Failure and Exploit; Noise Control; Histories of Noise; Audio Futurology; Feedback and Reflexivity; Inaudible Noise. For more information and submission guidelines please visit our website.
Deadline: December 31, 2011. Open Call - Silence Hunt. The Sound Museum of Silence is looking for silent (or even better, silence) recording to add into the archive and for the new issue of the magazine.
Silence can be defined as a soundscape with loudness below 20 dB. This project is an open archive which collect silence as soundscape / field recording below 20 dB. This is an attempt to create a sound museum of silence. Is an open and on-going project, so everyone can contribute with a silence, sending it by email or over the dropbox in the website. With the sound some information are required, like: place of the rec, time of the rec and of the day when was taken, type of ambient in which the rec was taken, and of course the author. Based on this catalogue of information, some publication will be released (like magazine + cd) showing a particular topic. Full information online.
Deadline: December 31, 2011 Call for papers: Hearing, Landscape Critically; Sense, Text, Ideology (Music Faculty, University of Oxford, 18-19 May 2012). "Tell me the landscape in which you live and I will tell you who you are’ (José Ortega y Gasset). Nowhere is the only unattainable elsewhere; people are always already somewhere. This conference – the first of three inter-continental meetings between 2012 and 2014 – is concerned with any and all ‘somewheres’ that might be thought of as landscapes.
Whether telescoped from afar or lived up close, landscapes are tense and contested sites of being, doing and remembering, of disaster and delight. In them we hear sounds, enact performances, partake in noise, rush and solitude. Yet these embodied and affective encounters are always already mediated in complex and conflicting ways; institutional, inter-personal, and ideological dynamics render landscapes amenable to the agencies of power, knowledge and desire.
From vast expanses to private quarters, landscapes articulate multiple and overlapping scales: global, local, temporal, virtual, universal. Landscapes, moreover, are rarely static or stable; at the frontier and the fringe, in the warren and the den we find marginal, interstitial and oppositional spaces.
Like a landscape, this call for papers cannot help but mark out its terrain: while acknowledging the contribution of existing work on landscape, too many studies have been concerned with purely scopic analyses, leaving multi-sensory experience and the historical materiality of landscape under-theorised. This conference thus seeks to expand, even explode our critical frames of reference, and develop alternative strategies for engaging critically and creatively with the poetics and politics of landscape.
Papers related to this agenda – including but not limited to the topics listed below – are welcome in the formats stipulated at the bottom of this CFP.
SITES OF POWER – occupation, reservation, institution, restitution, academy, capital, knowledge, ideology;
QUESTIONS OF STRUCTURE – smooth, striated, complex, chaotic, fixed, dense, in flux;
PERFORMING LANDSCAPE – theatre, narration, embodiment, language, song, immersion, everyday;
MOBILITIES – tourism, commuting, returning, tracing, dwelling and/as wandering, stasis and acceleration;
POLITICAL CONCERNS – subordination, exploitation, destruction, survival;
PHILOSOPHICAL CONCERNS – human, non-human, transcendental, nature, culture, ontology, epistemology, phenomenology.
How to send proposals:All proposals should be emailed to email@example.com (size limit = 5MB) by 31 December 2011. Please include name, affiliation (if applicable), postal address, email address and AV requirements on a separate cover sheet.
Individual papers (20 minutes) – abstract of no more than 300 words.
Panel sessions – describe individual papers and overarching theme in no more than 500 words.
Alternative formats – describe your proposal (i.e. performance, round table, film discussion, or whatever it may be) in no more than 500 words.
Unfortunately, funding for travel will NOT be generally available for delegates. However, there may be some funds for student travel bursaries. If you would be interested in this, please indicate so on your cover sheet.
Prof. Julian Johnson (RHUL), “Aural Fantasies: Music, Modernity and the Imaginary Landscape”; Prof. David Matless (Nottingham) will speak on landscape and sonic geography.
Other confirmed speakers include: Dr Daniel Grimley (Oxford) and Prof Stephanus Muller (Stellenbosch).
Deadline: January 1, 2012 - Call for article submissions. The Journal of the Acoustical Society of America intends to publish a special issue on soundscape and its applications. Given that a sufficiently large number of papers are accepted, these papers will appear as a group in a separate publication which will be the second part of a regular issue. Examples of such special issues may be found in the part two’s of the January 2002, March 2005, and September 2008 issues.
The general topic of soundscape is recognized as one that has consistently generated new and innovative ways of thinking about noise control and if the interaction between sound and people. It has a significant practical relevance, in terms of policies, as well as in the planning and design of new living areas or in reshaping existing areas. Topics of interest include whatever is involved in the developments of soundscapes: economics, noise-policy standards, combined effects, cross-cultural studies, perceptual and physical parameters (such as the characteristics of sounds and survey site selection), multi-sectoral environmental health impact assessment, development of environmental zoning, citizen involvement, and preservation of quiet areas Papers are encouraged that address “sensitive areas” and which offer new insights into the existing annoyance data and new integrative research strategies for the design of "supportive environments." Download PDF for more information.
Deadline: January 1, 2012 - Call for submissions on the theme: Audiences and Participants - 2012 Organised Sound: An International Journal of Music and Technology. With roots that can be traced back at least as far as Cage’s composition classes in the late 1950’s, composers and sound artists now systematically design ways for audiences to participate aurally, visually, and physically - welcoming them into playing an active role in their own experience of sounding artwork. From sensor-enhanced audiences to participatory scoring, from Deep Listening (and playing) to artist-led workshops, from installation works to sound toys and circuit-bent devices, from web-mediated engagement to urban sound walks, audience-navigated experiences of sound are now ubiquitous features of the sonic arts landscape. A variety of active listening skills are being shared and developed, and an understanding of audience competencies and methods for making these participatory activities successful is growing.
Electroacoustic music is distinguished by its openness to all sound. However, it is now situated in a media art and performance context through which other revolutionary winds have swept which cannot be ignored in its theorisation. We ask: is the term, audience, actually the right one in these new contexts? Properly formatted email submissions and general queries should be sent to firstname.lastname@example.org.
Deadline: January 3, 2012 Presentation proposals: 2012 ARSC conference. The Association for Recorded Sound Collections invites proposals for presentations at its 46th annual conference, to be held May 16-19, 2012, in Rochester, New York. ARSC welcomes papers on the preservation and study of sound recordings -- in all genres of music and speech, in all formats, and from all periods. We seek papers and panels that are informative, display a passion for their subjects, and include compelling audio and visual content. For more information and the Call for Presentations form, visit:
Deadline: January 15, 2012 Call for papers World Congress of Acoustic Ecology. The first World Congress of Acoustic Ecology was held in 1997 at the Abbaye de Royaumont, in France. The objective was to highlight the nascent discipline of acoustic ecology with the perspective of taking the sonic dimension into account as part of the protection, preservation and creation of human and natural environments. Now, a second congress will be held from August 17 to 25, 2012. To mark the occassion, a call for papers has been made around the theme 'Listening Exercise'. Projects must be submitted no later than Janury 15, 2012. Download the attached document for specifics, or visit the Congress web site.
Deadline: March 2, 2012 Open call for works celebrating Cage's radio compositions.
To celebrate the John Cage Centennial in 2012, an open call for proposals around Cage's compositions with, for, and about radio is issued. Selected proposals will be broadcast on free103point9's FM radio station (WGXC 90.7-FM in upstate New York) and streamed online throughout a month-long program September 2012.
Submissions are due on March 1, 2012, and may be made in three categories: recordings of a specific Cage radio composition (old or new), live performance of a specific Cage radio composition (presented remotely or on-site), and works in homage (original projects inspired by Cage's radio work.) Click2Read