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Current Calls for Submissions
Toronto Electroacoustic Symposium 2013
Call for Submissions / Appel à contribution
Toronto, 14–17 August 2013
The Canadian Electroacoustic Community (CEC) and New Adventures in Sound Art (NAISA) are pleased to announce the 7th edition of the Toronto Electroacoustic Symposium (TES). TES has become a consistently creative and cohesive point of contact between diverse international electroacoustic (EA) communities and the Toronto scene.
The symposium will take place in Toronto at New Adventures in Sound Art’s facilities at the Artscape Wychwood Barns, from 14–17 August 2013.
We are now inviting proposals for papers, lecture-recitals, special sessions of 2 to 4 panellists, compositions and performances to be presented at TES 2013 (submission deadline: 1 April 2013).
[See submission details below]
General Information / Informations générales
The 2013 symposium is the seventh annual iteration of this important opportunity for exchange between diverse EA communities. In recent years, a number of themes have emerged, among them: creative and collaborative practices, curation, research and analysis, algorithmic processes, videomusic and intermedia practices, electronic ensembles and live coding.
As in preceding years, the symposium leads directly into the main concert weekend of the annual Sound Travels Festival of Sound Art. Under the theme of Sonic Geography, the 15th edition of Sound Travels explores emerging trends alongside established traditions in electroacoustic music. At the heart of TES 2013 will be a keynote lecture by Francis Dhomont, one of Sound Travels’ featured artists.
TES and Sound Travels events will be presented on NAISA’s real-time spatialization system.
All symposium contributions will be webcast live, and text proceedings will be published in a forthcoming issue of the CEC’s online journal, eContact!
We look forward to seeing you, your colleagues, collaborators and students in Toronto in August!
Questions and requests for information not found in this document should be directed to Symposium Chair Emilie LeBel at: emilie.lebel@utoronto.ca
Dates
1 April Deadline for receipt of proposals @ 11:59 PM EST
18 May Notification of acceptance
14 August Symposium opening reception and concert
14–16 August Symposium concerts
15–17 August Symposium sessions
16–17 August Sound Travels Festival concerts
Fees / Frais
Symposium registration fees (General): $70 (includes admission to all concerts)
Symposium registration fees (Student): $40 (includes admission to all concerts)
Submissions / Soumissions
For TES 2013, we invite submissions — paper presentations, compositions / performances, lecture-recitals and special panel sessions (see below for details on format) — related to the following themes:
• form and structure in EA music
• creative compositional processes
• sound studies
• sound + image / videomusic
• intermedia practices
• electronic ensembles
• live coding
Proposals which fall outside of these topics will also be considered, as long as they relate to some aspect of the wider realm of EA practice(s), which may for example extend into popular musics, media art, performance art and other sonic disciplines.
The following materials are to be submitted to the symposium’s Review Committee via the TES submission page: http://naisa.ca/tes-submit-piece.php.
(Verify your submission with the checklist below to make sure your application is complete!!!)
• biography (max. 150 words) for each individual involved
• abstract (max. 500 words) for paper, lecture and special panel proposals
• brief summaries (100–150 words) of the contributions of participating panellists
• programme note (max. 150 words) for each work / performance submission
• a complete stereo MP3 audio or H264 video representation for each work / performance submission
• any additional documentation (scores, technical notes)
Make sure to specify any and all technical requirements at the time of submission. A 16.1-channel system is available for use during sessions. Additionally, HD video projection is available for use during concerts and lecture-listening sessions.
Where live electronic and / or live performance elements are involved, it is expected that such elements will be provided by symposium participants.
Format of Presentations / Format des présentations
Paper Presentations are limited to 20 minutes, followed by 10 minutes of questions / discussion.
Special Panel Sessions will be programmed at the discretion of the committee according to the requirements and nature of the proposal.
Lecture-Recitals are limited to 45-minute sessions, followed by 10 minutes of questions / discussion.
Compositions and performances will be presented in two possible formats, at the discretion of the committee — in a concert setting or during lecture-listening sessions alongside paper presentations. Registration and attendance at the symposium is a requirement for the presentation of compositions / performances. Please note that preference will be given to works by composers / performers who are attending the symposium to present a paper or who indicate that they are prepared to lead æsthetic and / or analytical discussion of their piece in the context of a lecture-listening session.
Organisation
Review Committee / Comité de selection
Emilie LeBel, Chair of Symposium Committee (University of Toronto)
Freida Abtan (Goldsmiths University of London)
Kevin Austin (Concordia University)
Christina Baade (McMaster University)
Ricardo Dal Farra (Concordia University)
David Eagle (University of Calgary)
Arne Eigenfeldt (Simon Fraser University)
Ken Fields (University of Calgary)
David Gerhard (University of Regina)
James Harley (University of Guelph)
Bentley Jarvis (Ontario College of Art and Design University)
Sherry Lee (University of Toronto)
Elainie Lillios (Bowling Green State University)
Cort Lippe (University at Buffalo, USA)
Hilary Martin (York University)
Steven Naylor (Acadia University)
David Ogborn (CEC / McMaster University)
Shawn Pinchbeck (University of Birmingham)
Laurie Radford (University of Calgary)
Scott Smallwood (University of Alberta)
Andrew Staniland (Memorial University)
D. Andrew Stewart (University of Lethbridge)
Adam Tindale (Ontario College of Art and Design University)
Barry Truax (Simon Fraser University)
Eldad Tsabary (CEC / Concordia University)
John Wynne (University of the Arts London)
Organising Committee / Comité d’organisation
Emilie LeBel, Chair of Symposium Committee (University of Toronto)
Kevin Austin (CEC / Concordia University)
Darren Copeland (New Adventures in Sound Art)
Nadene Thériault-Copeland (New Adventures in Sound Art)
Submission Checklist
The following materials are to be submitted to the symposium’s Review Committee via the TES submission page, according to the nature of the submission: http://naisa.ca/tes-submit-piece.php.
Make sure to specify any and all technical requirements at the time of submission. A 16.1-channel system is available for use during sessions. Additionally, HD video projection is available for use during concerts and lecture-listening sessions.
Where live electronic and / or live performance elements are involved, it is expected that such elements will be provided by symposium participants.
Paper Presentations
• biography (max. 150 words)
• abstract (max. 500 words)
Compositions / Performances
• biography (max. 150 words) for each individual involved
• programme note (max. 150 words) for each work / performance submission
• a complete stereo MP3 audio or H264 video representation for each work / performance submission
• any additional documentation (scores, technical notes)
Lecture-Recitals
• biography (max. 150 words)
• abstract (max. 500 words)
• programme note (max. 150 words) for each work / performance submission
• a complete stereo MP3 audio or H264 video representation for each work / performance submission
• any additional documentation (technical notes)
Special Panel Sessions
• biography (max. 150 words) for each individual involved
• abstract (max. 500 words)
• brief summaries (100–150 words) of the contributions of participating panellists
Deadline: January 31, 2013
New Adventures in Sound Art (NAISA) is pleased to announce the 2013 edition of the TransX Transmission Art Symposium
May 17 - 20, 2013
We are now inviting submissions for papers and performances: http://naisa.ca/opportunities.html#transx
The Trans-X Transmission Art Symposium, part of the Deep Wireless Festival of Radio & Transmission Art, will focus on Transmission Art, with particular interest in contributions that summarize, examine or reframe traditions and histories of transmission art practices, technology, education and pedagogy. Additionally, we are very interested in presentations that go beyond the local contingent to give a sense of how new technologies of international transmission activity might be experienced. Proposed presentations and performances that combine the themes of Transmission Art and “Sonic Geography” are also especially welcome (see submission details below)!
Rooted in the earliest experiments with radio, Transmission Art has continued to flourish into the 21st Century with experiments using wireless communications technology over the past 100 years, including the exploration of a variety of mobile-based platforms and lesser-known forms of transmission, such as VLF. The terrain of transmission art is dynamic and fluid, always open to redefinition.
The symposium will take place in Toronto at the Wychwood Theatre and NAISA’s facilities at the Artscape Wychwood Barns, from 17-20 May 2013.
As in preceding years, the symposium will include workshops, installations and performances also part of the annual the Deep Wireless Festival of Radio and Transmission Art. At the heart of the symposium will be keynote lectures by Tetsuo Kogawa (via live-feed) and Anna Friz (Deep Wireless’ featured artist).
All symposium contributions will be webcast live, and text proceedings will be published after the symposium on the NAISA web-site. Please see below for specific guidelines on paper and performance submissions.
We look forward to seeing you, your colleagues, collaborators and students in Toronto in May!
Important Information
31 January Deadline for receipt of proposals @ 11:59 PM EST
1 March Notification of acceptance
17 May Symposium opening reception and performances
18–20 May Symposium sessions
18–19 May Deep Wireless Festival performances
Fees
Symposium registration fees (General): $70
Symposium registration fees (Student): $40
(both rates include admission to all performances)
Questions and requests for further information can be directed to:
Nadene Thériault-Copeland - transx@naisa.ca
Submissions
Papers
Papers are to be presented in 20 minutes, followed by 10 minutes of questions and discussion. We are especially interested in paper submissions dealing with the theme “Sonic Geography” using mobile or transmission technology. However, proposals related to any aspect of Transmission Art practice (broadly conceived, including Transmission Art practice as a part of popular culture, media art and other disciplines) are welcome.
Please specify any and all technical requirements at the time of submission. Submit a 500–1000 word abstract, and a biography of 250 words or less, to the symposium’s Review Committee at:
http://naisa.ca/transx-submit-piece.php
Transmission Art Works / Performances
Works / Performances will be presented in two possible formats, at the discretion of the committee — in a performance setting or during lecture-listening sessions alongside paper presentations, all using the same sound system and venue. Registration and attendance at the symposium is a requirement for the presentation of works / performances. Preference will be given to works by artists who are attending the symposium to present a paper or who indicate that they are prepared to lead aesthetic and / or analytical discussion of their piece in the context of a lecture-listening session.
Please specify any and all technical requirements for the performance at the time of submission. A multichannel sound system and HD video projection is available for use during performances and lecture-listening sessions. All performers, materials and instrumentation required for performance are the responsibility of the presenting participant.
The following materials should be prepared and submitted to the symposium’s Review Committee on the submission page http://naisa.ca/transx-submit-piece.php
- brief program note (max. 250 words) describing the work / performance
- biography of 250 words or less
- an audio MP3 or compressed video file of the work
- any additional documentation (photos, diagrams, scores, technical notes)
Organisation
Review Committee:
Anna Friz, post-doctoral fellow, School of the Art Institute of Chicago
Galen Joseph-Hunter, Executive Director free103point9.org
Katie Kehoe, Maryland Institute College of Art
Dan Lander, Artist
Eric Leonardson, School of the Art Institute of Chicago
Andra McCartney, Concordia University
David Ogborn, McMaster University
James Partaik, L’Université du Québec à Chicoutimi
Tetsuo Kogawa, Radioartist, Media Critic, Director of Goethe Archive Tokyo
Jocelyn Robert, Laval University
Jim Ruxton, Director of Programs, Subtle Technologies Festival
Don Sinclair, York University
Helen Thorington, Co-Director of New Radio and Performing Arts, Inc
Gregory Whitehead, radio artist / co-editor of Wireless Imagination
Organizing Committee:
Nadene Thériault-Copeland, Executive Director, NAISA
Emilie LeBel, University of Toronto
Darren Copeland, Artistic Director, NAISA
Links / Liens
TransX Transmission Art Symposium
New Adventures in Sound Art
Artscape Wychwood Barns
Deadline November 15, 2012
Categories: Transmission Art/Radio Art, Electroacoustic Music/Sound Art,
Interactive Installation Art, Locative Media Art
New Adventures in Sound Art (NAISA) invites artists of all ages and nationalities to submit works on the theme SONIC GEOGRAPHY: exploring Space & Sound for consideration in New Adventures in Sound Art's 2013 programming in Toronto, Canada.
The NAISA Space is located in a 100 year old building originally constructed as a repair barns for the city's streetcar trollies. The sound of these trollies over the past 100 years has become a signature of the Toronto soundscape. In recognizing this important local milestone NAISA is asking artists to consider sounds that speak of place and that help identify communities.
Preference in programming will be given to works that respond in some way to the theme of SONIC GEOGRAPHY: exploring Space & Sound. Individual interpretations or variations on the theme are encouraged, but should be realized with sound as the primary component. NAISA would also like to encourage artists to submit works for performance, gallery exhibit, screening, webcast or audio stream, radio broadcast, network or translocal performance, mobile experiences and any other emerging formats that include sound as a primary element. Programming contexts include the long established festivals Deep Wireless and Sound Travels along with other events. Visit the other sections in this site to explore NAISA's programming activity.
Please complete in full the online submission form and upload your audio by midnight on November 15, 2012. Note: there is a $5 submission fee in order to defray the cost of processing the submissions. All works programmed by NAISA will receive an artist fee with the exception of works broadcast on NAISA Radio.
Artists may submit more than one work for consideration in any of the following categories: (Note: please fill out one on-line submission for each work entry):
Transmission Art / Radio Art
Sound Art / Electroacoustic Music
Interactive Installation Art
Locative Media Art
1) Transmission Art / Radio Art
This category is for works that use wireless transmission and other broadcast media as the focal point of their content or form. NAISA will consider works for presentation in installation, performance, fixed media, radio broadcast and internet broadcast contexts for the Deep Wireless Festival of Radio and Transmission Art and other NAISA presentations. NAISA encourages 1 minute radio art pieces for broadcast as well as works that explore translocal and network possibilities. Longer-form works will also be accepted.
Both Canadian and International radio art submissions will be considered for inclusion in the following:
-The Deep Wireless 9 radio art compilation CD
-The Radio Art Interventions (1 minute pieces played guerilla-style on radio and web-radio stations during the Deep Wireless festival)
Note: from the submissions, NAISA will select a small number of Canadian artists to send NAISA proposals for works to be included on CBC Radio’s Living Out Loud.
2) Sound Art / Electroacoustic Music
This category is for multi-channel and stereo works conceived for concert performance or presentation. Works would be considered for presentation in installation, performance, fixed media, and internet broadcast contexts for the Sound Travels Festival of Sound Art and other NAISA presentations. Works presented in performance are encouraged to use the NAISA spatialization system, which is a unique 16-channel performance system for spatialization that combines real-time gestural control with automated spatialization and also the manual manipulation of ultra-directional loudspeakers.
3) Interactive Sound Installation
Installation proposals of previously realized works for site-specific and gallery installations will be considered for presentation at the NAISA Space. Works can use multichannel or single channel playback and may incorporate any number of media, but must feature original sound as a primary element.
Preference will be given to interactive works that appeal to all ages and that fit in a 20 ft x 16 ft (or 6 m x 5 m) black space. Please note that the NAISA space is a multi-use venue which often requires that works be moved and re-positioned on non-exhibition days. Also attach a list of the necessary equipment required to mount the installation and which of these items can be supplied by the artist. Submissions should include audio, video or audio-video documentation of previously realized versions of the work.
4) Locative Media Art
“Locative Media uses portable, networked, location aware computing devices for user-led mapping, social networking and artistic interventions in which geographical space becomes its canvas.” (Locative Dystopia 2, Drew Hemment) For works submitted in this category NAISA encourages artists to consider the artistic possibilities of locative media with sound as the primary element. Works will be considered for presentation in installation, performance, internet and mobile media in all of NAISA's programming.
Submission Guidelines
Please complete in full the online submission form by midnight on November 15, 2012 along with your $5 submission donation. Submission materials can be sent online or by post. For surface mail, please send (postmarked November 15, 2012) to:
New Adventures in Sound Art
Artscape Wychwood Barns
601 Christie Street #252
Toronto, ON
M6G 4C7
Canada.
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