SPOR festival for contemporary music and sound art invites composers and sound artists to submit a proposal for a new work to be realized at SPOR 2015, Aarhus, DK.
FEE FOR REALIZING THE PROPOSAL: € 1.000
DEADLINE FOR SUBMITTING: November 1st 2014.
THEME OF THE CALL AND FESTIVAL:
The proposal may describe a wide range of projects, from works for ensemble and music theatre pieces to sound art installations.
In 2015 the festival will focus on practices within music theatre and opera, how we create and present works keeping the history and tradition present but updated to the world of today. Opera and music theatre has a very strong tradition for retaining an authentic and historically based performance practice when speaking of the music – it is allowed to interfere with some elements (like updating scenography, characters, the history etc.), but the music itself and the score is often understood as sacred.
SPOR festival 2015 will bring this fact to discussion and shows the exuberant development that happens in music theatre and opera these years. We therefore ask for spectacular proposals that reflect or question these tendencies.
The proposal should reflect the theme of the festival, handle it either concrete or more abstract.
CONDITIONS AND JURY:
The call for proposals is open to all types of composers and sound artists, from all over the world. You may only submit in one proposal. An international jury will judge the proposals and choose five proposals to be realized at SPOR 2015. Each selected composer/artist/group of artists will receive a fee of € 1.000 for realizing the work. SPOR will cover travel expenses of up to € 200 and provide two night’s accommodation in Aarhus, Denmark.
The jury members for Call for Proposals 2015 are:
Francois Sarhan (FR, composer)
Line Tjørnhøj (DK, composer)
Rainer Nonnenmann (DE, writer, editor and musicologist)
Yannis Kyriakides (CY, composer and sound artist)
Erik Dæhlin (NO , performer Call ensemble)
Anna Berit Asp Christensen & Anne Marqvardsen (festival directors, SPOR).
The jury’s decision is final and cannot be legally challenged.
• Type of works: Acoustic, electronic, electro-acoustic; ensemble piece, solo performance, music theatre or sound installation.
• Duration: For ensemble pieces and performances max. 15 min. Sound installations will run through the whole festival.
• Ensemble/performers/instruments available:
NING ensemble: Erik Dæhlin (percussion) & Amund Sjølie Sveen (percussion) with Silje Aker Johnsen (vocal, contemporary dance).
NING ensemble works with the physical, theatrical and visual aspects of musical performance. Both percussionists work as musicians, performers, composers, stage managers and installation artists. The ensemble wish to create up-to-date contemporary art at the intersection of musi c and performance; musical, physical and conceptual moments in the gap between the poetic and the discursive, both within and outside of the stage. A central theme in the work of the ensemble is how music and the role of the musician exist in an interdisciplinary work. In this process NING has collaborated with a number of other artists among these are vocalist Silje Aker Johnsen. Silje Johnsen has a strong focus on contemporary vocal music, as well as the baroque and classical coloratura repertory. She feels equally at home in extended vocal techniques as in classical singing. Her scenic experience is versatile, ranging from opera roles and concerts, to theatre, performance, improvisation as well as contemporary dance.
Examples of their performances and more info can be found here.
Contact: Erik Dæhlin, daehlin (a) gmail (.) com
More info: www.ningensemble.com; www.siljeakerjohnsen.no
The ensemble can be used in its existing form as well as soloists.
• Technical provision: 1 projector + screen; 1 stereo sound-system (with a small mixer); 4 microphones.
• Further instrumentalists, performers or technical equipment must be provided by the artist/composer.
• Non-technical items such as costumes, scenery and materials for installations must be provided by the artist/composer.
• Concert and staged works will be presented at one of the main venues of the festival.
• Installations can be presented at various venues in Aarhus (indoor/outdoor), agreed with the festival.
WHAT TO SEND:
• Fill out the PDF-form with your personal info, a short description of your proposal and links to 2-3 sound or video files t hat represent your work from the last 5 years.
DOWNLOAD THE FORM HERE.
• Maximum 2 pages of text as PDF describing one work that you wish to create and realize at the SPOR festival 2015 + link to streaming of video and/or sound file sketches (optional).
Please name the file “Proposal_text”.
• CV. Please name the file “CV”.
• Accompanying scores in PDF format are also welcome but optional.
1. Nov. 2014: Deadline for sending in proposals.
Primo January 2015: The 5 chosen proposals will be announced in the SPOR newsletter and via social media platforms.
1. March 2015: Deadline for delivering scores, parts and technical riders
7.-10. May 2015: Performance/presentation at SPOR 2015 in Aarhus, Denmark
WHERE TO SEND THE PROPOSAL:
• call (a) sporfestival (.) dk
Download the Call for Proposals as pfd.
7th International Conference on Digital Arts – Creating Digital e-Motions. Óbidos, Portugal, March 18-20, 2015
Call for Papers
ARTECH 2015 is the Seventh International Conference on Digital Arts, this time hosted by Universidade Aberta in the ancient village of Óbidos, Portugal. The goal of the conference is to promote the interest in the current digital culture and its intersection with art and technology as an important research field, but also as a common space for discussion and exchange of new experiences. Seeking to foster greater understanding about digital arts and culture across a wide spectrum of cultural, disciplinary, and professional practices, this edition of the conference also includes a strand concerned with mobile technologies such as smartphones and tablets that have become widespread creation instruments. To this end, we cordially invite scholars, teachers, researchers, artists, computer professionals, and others who are working within the broadly defined areas of digital arts, culture and education to join us.
Authors are invited to submit papers from all areas related to digital art, but also art installations, digital artefacts or media artworks, for review by an international committee. Both research and applications papers are of relevance to ARTECH 2015.
Topics of interest include (but are not limited to):
- Art and Science Theory
- Audio-Visual and Multimedia Design
- Creativity Theory
- Design and Visualization
- Digital Storytelling
- Digital Technologies and Making
- e-Learning in Art and Media Studies
- Electronic Music
- Generative and Algorithmic Art & Design
- Immersive Art
- Interactive Systems for Artistic Applications
- Media Art History
- Mobile Multimedia
- Web Art and Digital Culture
- Digital Media, Apps and eBooks
- Digital Preservation
- Parametric Design
- Tangible and Gesture Interfaces
- Technology in Art Education
- Virtual Reality and Augmented Reality
- 3D Environments
- Full paper submission: October 26, 2014
- Art installations, digital artefacts or media artworks’ proposals and short papers submission: September 30, 2014
- Full and short papers notice of acceptance: November 30, 2014
- Installations proposal notice of acceptance: November 30, 2014
- Submission full paper final version: January 31, 2015
- Early registration deadline: January 31, 2015
- Pre-conference workshops: March 18, 2015
- Conference: March 19-20, 2015
V2_ presents an e-book about the art project ‘The Iron Ring’ by Cecilia Jonsson. With an extensive visual essay reporting on the seven chronological steps that were required to create an iron ring out of 24kg of grass harvested from the acidic river banks of a landscape in Spain severely transformed by opencast mining, and a text discussing the project from an environmental-philosophical perspective.
Call for papers: International Conference on the Multimodal Experience of Music
ICMEM, 23-25 March 2015
In live and virtual situations, music listening and performing are multimodal experiences: Sounds may be experienced tactically, music evokes visual images or is accompanied by visual presentations, and both generate vivid cross-modal associations in terms of force, size, physical location, fluency and regularity, among others.
ICMEM aims to bring together researchers from various disciplines who investigate the multimodality of musical experiences from different perspectives. Disciplines may include among others audiology, cognition, computer science, ethnomusicology, music performance and theory, neuroscience, philosophy, and psychology.
Proposals are invited for papers, symposia, demonstrations and posters. Investigations may include but are not necessarily confined to the following areas
- Multimodal experiences of music in everyday life
- Cross-modal correspondences with musical parameters
- Influences of visual context on music perception
- Emotion and cross-modality
- Tactile, visual, and kinesthetic feedback in music performance
- Multi-modal interaction in multimedia, including film and games
- Uses of cross-modality in hearing or visual impaired music listeners
- Strong and weak synaesthesia
- Motion and movement perception in music
- Relations between motion and emotion in music listening
- Brain-structures related to cross-modal associations with sounds
- Technological and commercial applications of cross-modal associations
- Creative and pedagogical uses of cross-modality in music
Invited speakers: Profs. Amir Amedi, Eric Clarke, Nicholas Cook, Charles Spence, and Peter Walker
Dates: 23-25 March 2015
Location: Humanities Research Institute, University of Sheffield, UK
Host: Music, Mind, Machine in Sheffield, Department of Music, University of Sheffield, UK
This conference is supported by ESCOM and SEMPRE, who offer bursaries to student attendees, and by the British Academy.
Due to our participation at alt_cph the booking of equipment and rooms will e closed from Wed 3. until Thu. 9 Sept.