eContact! 13.2 - Keyboard + Live EA: The Performer's Perspective
eContact! extends an open call for contributions to an issue focussing on the situation of the performer of works for keyboard and live electronics, coordinated by Guest Editor Sebastian Berweck.
Submission deadline: 15 January 2011
Publication: 15 February 2011
Submission information: http://cec.concordia.ca/econtact/13_2/call.html
eContact! 13.3 - Creative Rights and the Electroacoustic Economy
eContact! extends an open call for contributions to an issue - coordinated by Guest Editor David Ogborn — exploring the way that intellectual property (IP) issues affect electroacoustic (EA) practice: from the various IP models (copyright and left, creative commons) through to the larger questions of how individual artists, EA support organizations and the culture as a whole self-organize and sustain themselves economically.
Submission deadline: 31 January 2011
Publication: 28 February 2011
Submission information: http://cec.concordia.ca/econtact/13_3/call.html
Tuesday, 26 October 2010
Saturday, 16 October 2010
More radio and sound art
Here are some assorted links mostly related to radio and sound art:
- The radio art seminar I attended last week was mentioned by Jesper Olsson in Svenska Dagbladet: Brechts visioner för radion är nära ("Brecht's visions for radio approach reality"). He also referred to the October issue of The Wire, Noise in the ether, devoted to creative broadcasting.
- The Wire also sponsors Cut & Splice: Transmission, an annual experimental music and sound art festival produced by Sound and Music and BBC Radio 3.
- Leftob is a netradio project of the Petcord netlabel. By the way, when will Electroacoustic Sweden, the webradio from SEAMS/Elektron, be available again? We miss it!
- Resonance is a new European sound art network based in the Netherlands.
- Hydrophonia is a festival "dedicated to hydrophonic sound art and raising public awareness of how man-made ocean noise affects marine life."
- Canoris is a new web platform/API for sound/music analysis and voice synthesis.
Sunday, 10 October 2010
Two seminars
I attended two seminars this week at Audiorama, the new multichannel venue for radiophonic/sound art in Stockholm. At the first, Morton Subotnick talked about his life in music, beginning with the San Francicso Tape Music Center and the development of the Buchla synthesiser, and ending with his latest mixed media work, Jacob's Room. Many of his anecdotes have already been told in Bernsteins The San Francisco Tape Music Center: 1960s counterculture and the avant-garde (and, according to Andreas Engström, by Pauline Oliveros), but it was interesting all the same.
The other seminar was about radio and radio art. Mats Lindström, director of EMS, introduced the subject by speaking on the importance of Sveriges Radio (the Swedish national radio and the founder of EMS) for electroacoustic music, radio art and text-sound composition.
John Kieffer, creative director of Sound and music (which Sonic Arts Network has merged into), talked about radio's creation of new ways of listening, both collective and solitary: the scarcity of radios in Jamaica made people gather to listen to American music programmes, which led to the sound system culture; in England, people met at car parks to listen to their favourite shows on their car radios; and Kieffer's concentrated listening to bad quality pirate radio in bed at night, which gave rise to an intense experience comparable to deep listening.
Researcher Kersten Glandien spoke about the relation between radio and sound art. According to Glandien, radio art is one-directional and exclusively aural, while sound art is interactive and connected to other media. Dependent on public radio and its policies, the "inefficient" radio art might turn into a dying genre due to commercialisation and dwindling resources, whereas sound art has developed close ties with galleries and museums, and is now fully integrated in the art world.
If I interpret her correctly, there are, however, some trends that point to a brighter future for radio art. One is the creation of new independent radio stations, run by enthusiasts and using new web technology to reach out, e.g. Resonance104.4fm in the UK and WFMU in the USA. Another is the ties between sound art and radio art, and the increasing collaboration between radio stations, new media organisations and art institutions. A third trend is the new interest in single-sense experience and focused listening. She also mentioned the vast archives of sound works assembled at public radio stations, and the problem of preserving and make them known.
An interesting discussion followed on the temporal aspects of broadcasting vs. mp3-players and the like, and on the importance of public radio for artists. There still seems to be funding for commissions of radio/sound art available, and public radio still matters for distributing art and music outside the large cities.
The other seminar was about radio and radio art. Mats Lindström, director of EMS, introduced the subject by speaking on the importance of Sveriges Radio (the Swedish national radio and the founder of EMS) for electroacoustic music, radio art and text-sound composition.
John Kieffer, creative director of Sound and music (which Sonic Arts Network has merged into), talked about radio's creation of new ways of listening, both collective and solitary: the scarcity of radios in Jamaica made people gather to listen to American music programmes, which led to the sound system culture; in England, people met at car parks to listen to their favourite shows on their car radios; and Kieffer's concentrated listening to bad quality pirate radio in bed at night, which gave rise to an intense experience comparable to deep listening.
Researcher Kersten Glandien spoke about the relation between radio and sound art. According to Glandien, radio art is one-directional and exclusively aural, while sound art is interactive and connected to other media. Dependent on public radio and its policies, the "inefficient" radio art might turn into a dying genre due to commercialisation and dwindling resources, whereas sound art has developed close ties with galleries and museums, and is now fully integrated in the art world.
If I interpret her correctly, there are, however, some trends that point to a brighter future for radio art. One is the creation of new independent radio stations, run by enthusiasts and using new web technology to reach out, e.g. Resonance104.4fm in the UK and WFMU in the USA. Another is the ties between sound art and radio art, and the increasing collaboration between radio stations, new media organisations and art institutions. A third trend is the new interest in single-sense experience and focused listening. She also mentioned the vast archives of sound works assembled at public radio stations, and the problem of preserving and make them known.
An interesting discussion followed on the temporal aspects of broadcasting vs. mp3-players and the like, and on the importance of public radio for artists. There still seems to be funding for commissions of radio/sound art available, and public radio still matters for distributing art and music outside the large cities.
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