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Toronto International Electroacoustic Symposium Call for Submissions

Toronto International Electroacoustic Symposium 2016

CALL FOR SUBMISSIONS / APPEL A CONTRIBUTION

Toronto, 10–13 August 2016

The details of the call in PDF format can be read by clicking here

New Adventures in Sound Art (NAISA), the Canadian Electroacoustic Community (CEC,) and the Canadian Music Centre (CMC) are pleased to announce the 10th edition of the Toronto International Electroacoustic Symposium (TIES), and delighted to welcome multifaceted artist John Oswald as Keynote Speaker this year. Governor General award-winning and prolific media artist, composer and saxophonist, John Oswald is known for his famous Plunderphonics recordings among a host of other provocative and original projects.

The symposium will take place in Toronto from 10–13 August 2016 at Geary Lane and at the Canadian Music Centre.

We are now inviting proposals for papers, lecture-recitals, special sessions of 2 to 4 panellists, compositions and performances to be presented at TIES 2016 (submission deadline: 16 March 2016).
[See submission details below]

TIES is a unique point of convergence for a growing international community of diverse electroacoustic (EA) practitioners. We look forward to seeing you at TIES 2016, where you can explore and share diverse perspectives on electroacoustic and sound art research and practice, while expanding your artistic and professional network.

General Information / Informations générales

The 2016 symposium is the tenth 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. The 18th edition of Sound Travels explores emerging trends alongside established traditions in electroacoustic music. At the heart of TIES 2016 will be a Keynote Lecture by John Oswald, one of Sound Travels’ featured artists. TIES and Sound Travels events will be presented using 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 for electroacoustics, 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 the Symposium Chair (ties@naisa.ca).

Dates

16 March — Deadline for receipt of proposals @ 11:59 PM EST
8 April — Notification of acceptance
10 August — Symposium opening reception and concert
10–13 August — Symposium sessions and concerts
11+13 August — Sound Travels Festival concerts

Fees / Frais

Symposium registration fees include admission to all concerts: General $70 / Student $40.

Submissions / Soumissions

For TIES 2016, we invite submissions for paper presentations, compositions / performances, lecture-recitals and special panel sessions [see below for details on format] that are related, but not limited to, the following topics (some of which are also found in eContact!, where TIES proceedings are published):

  • Ownership and creative license
  • Creative compositional processes
  • Live coding, laptop orchestra
  • Pedagogical issues: teaching about “sound” and “listening”
  • Experimental performance, DIY instruments, subversion in sound
  • Intermedia, interactivity and media-specific practices
  • Analogue and modular synthesis
  • Aural perception, psychoacoustics, hearing
  • Sound and environment, acoustics and space
  • Paradigm shifts in electroacoustic practices

Other topics that relate to some aspects of EA (in popular musics, media art, performance art and other sonic disciplines) are also welcome.

The following materials are to be submitted to the symposium’s Review Committee via the TIES submission page.

  • Abstract (max. 300 words) for paper, lecture and special panel proposals
  • Programme note (max. 150 words) for each work / performance submission
  • Brief summaries (100–150 words) of the contributions of participating panelists
  • Biography (max. 150 words) for each individual involved
  • A complete stereo MP3 audio or H264 video representation for each work / performance submission
  • Any additional documentation (scores, etc.)
  • Technical requirements

Note: Submissions that are incomplete or do not follow the submission guidelines (see checklist below!!) risk being omitted from the selection process.

Make sure to specify any and all technical requirements at the time of submission. A 16.1-channel system and HD video projection are available for concerts and lecture-recitals; stereo playback and a projector are available for paper and special 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 presentations

  • 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 35-minute sessions, followed by 10 minutes of questions / discussion.
  • Compositions and performances will be programmed at the discretion of the committee, and presented in the TIES concerts at Geary Lane.
  • All authors and composers whose work is selected for presentation at TIES must register and MUST ATTEND the symposium in person.


    Organisation

    Review Committee / Comité de selection

    Linda Antas (Montana State University)
    Kevin Austin (Concordia University)
    Natasha Barrett (Oslo)
    Nicolas Bernier (Université de Montréal)
    Viv Corringham (New York)
    Yves Daoust (Conservatoire de Montréal)
    Louis Dufort (Conservatoire de Montréal)
    Chantal Dumas (Montréal)
    Milena Droumeva (Simon Fraser University)
    Arne Eigenfeldt (Simon Fraser University)
    Ken Fields (University of Calgary)
    Erin Gee (Concordia University)
    Gilles Gobeil (CÉGEP de Drummondville)
    Bentley Jarvis (OCAD University)
    Monique Jean (Université de Montréal)
    Emilie LeBel (University of Montana)
    Cort Lippe (University at Buffalo)
    Hilary Martin (York University)
    Ellen Moffat (University of Saskatchewan)
    Gordon Monohan (Electric Eclectics)
    Steven Naylor (Acadia University)
    David Ogborn (McMaster University)
    Shawn Pinchbeck (CEC / University of Birmingham)
    Laurie Radford (University of Calgary)
    Scott Smallwood (University of Alberta)
    Andrew Staniland (Memorial University)
    Adam Tindale (OCAD University)
    Jane Tingley (University of Waterloo)
    Barry Truax (Simon Fraser University)
    Doug Van Nort (York University)
    Alexa Woloshyn (University of Toronto)
    John Wynne (University of the Arts London)

    Links/Liens

    TIES — Toronto International Electroacoustic Symposium
    NAISA — New Adventures in Sound Art
    CEC — Communauté électroacoustique canadienne / Canadian Electroacoustic Community
    CMC — Canadian Music Centre
    eContact! — The CEC’s online journal for electroacoustics
    Sound Travels Festival of Sound Art
    Geary Lane

    Submission Checklist

    Submissions that are incomplete or do not follow the submission guidelines risk being omitted from the selection process. All authors and composers whose work is selected for presentation at TIES must register and MUST ATTEND the symposium in person.


    The following materials are to be submitted to the symposium’s Review Committee via the TIES submission page , according to the nature of the submission.

    Make sure to specify any and all technical requirements at the time of submission [verify your submission with the technical checklist below]. A 16.1-channel system and HD video projection are available for concerts and lecture-recitals; stereo playback and a projector are available for paper and special sessions.

    Where live electronic and / or live performance elements are involved, it is expected that such elements will be provided by symposium participants.

    All submissions:

    • clearly name all attached files: LastName_FirstName_TitleKeyword.xxx
    • send only stereo (audio) files for the submission process
    • submit files, do not send links to external sites

    Paper Presentations

    • Abstract (max. 300 words), for the review process;
    • Summary (max. 150 words), for the website and programme booklet;
    • Biography (max. 150 words);
    • Technical requirements.

    Compositions / Performances

    • Programme note (max. 150 words) for each submission, for the website and programme booklet;
    • Biography (max. 150 words) for each individual involved;
    • A complete stereo MP3 audio minimum 192 kbps or H264 video representation for each submission;
    • Any additional documentation (scores, etc.);
    • Technical requirements.

    Lecture-Recitals

    • Abstract (max. 300 words), for the review process;
    • Programme note (max. 150 words) for each submission, for the website and programme booklet;
    • Biography (max. 150 words);
    • A complete stereo MP3 audio minimum 192 kbps or H264 video representation for each submission;
    • Any additional documentation;
    • Technical requirements.

    Special Panel Sessions

    • Abstract (max. 300 words), for the review process;
    • Biography (max. 150 words) for each individual involved;
    • Brief summaries (100–150 words) of the contributions of participating panellists;
    • Technical requirements.