More calls, conferences and some other stuff

Maryanne Amacher online archive: http://maryanneamacher.org/

An online open source database of city sounds and soundmaps from around the world using online found sounds and field recordings: http://soundcities.com/

A nice collection of sound art links: http://www.onelonelypixel.org/soundart.html

Conferences

KISS2011. Kyma International Sound Symposium, 15-18 September 2011, Porto, Portugal

TCMP2011. Tracking the Creative Process in Music, September 29th – October 1st 2011, Maison Européenne des Sciences de l’Homme et de la Société, Lille

First international Csound Conference. September 30 to October 2 2011, HMTM (Hochschule für Musik, Theater und Medien), Hannover

Sound Art Theories Symposium 2011, November 5-6, School of the Art Institute of Chicago. Deadline for paper submissions: August 1, 2011

Symposion on Xenakis’ electroacoustic music, 23-25 may 2012, Université Paris 8, E.A. 1572. Esthétique, musicologie, danse et création musicale in collaboration with Cdmc, Grm, Cix, Ircam, Motus. Deadline for proposals of papers: 1th of January 2012

IRCAM music research residency 2012-13. Application deadline: October 14, 2011 (Midnight Paris Time)

For more conferences, see Some conference calls for 2011.

R.I.P. Max Mathews

Synthopia reports that computer music resarcher Max Mathews (1926-2011) died yesterday, April 21. Mathews was the originator of MUSIC I-V, the predecessors of the Csound/Cmix/Cmusic family. The first computer synthesised music was generated by Mathews in 1957, using MUSIC I on an IBM 704 mainframe.

New books in EMS' library

We have received a gift of 58 books (and some cd:s that I haven't catalogued yet) from EMS veteran and PDP-15 hybrid synthesiser whiz Tamas Ungvary. These books are listed separately below. Thanks, Tamas!

New books

• Priest, Gail (ed.): Experimental music : audio explorations in Australia
• Perloff, Marjorie & Dworkin, Craig: The sound of poetry, the poetry of sound
• Boulanger, Richard & Lazzarini, Victor: The audio programming book
• Cipriani, Alessandro & Giri, Maurizio: Electronic music and sound design : theory and practice with Max/MSP. Vol. 1
• Farnell, Andy: Designing sound
• Daniels, Dieter & Naumann, Sandra (ed.): See this sound : audiovisuology 2 : essays : histories and theories of audiovisual media and art
• Erlandsson, Thomas: Ljudinstallationer i Sveriges utemiljö : examensarbete i landskapsarkitektur
• Fylkingen: Fylkingen 1933-1959 : utgiven med anledning av kammarmusikföreningen Fylkingens tjugofemårsjubileum
• Leitner, Bernhard: Ton-Raum TU Berlin
• Johnsson, Bo: Analoga kretsar. A, Faktabok
• Johnsson, Bo: Grundläggande elektronik : elektronik 2000. Faktabok
• Molin, Bengt: Analog elektronik
• Karlsson, David: En kulturutredning : pengar, konst och politik
• Peterson, Lars: Det kulturella kapitalet : kritik av kultursponsringen
• Rånlund, Sven ; Österling, Fredrik & Östersjö, Stefan (Horisont): Handlingsplan för den nutida konstmusiken
• Stålhammar, Maria & Wiklander, Nils: Lyssna! : en festivalrapport
• The Swedish dance history
• Wiggen, Knut: Att spela piano
• The sound projector 16-19

Books from Tamas Ungvary

• Dhomont, Francis (ed.): L'espace du son
• INA-GRM: Le traité des objets musicaux 10 ans après (Cahiers recherche/musique 2)
• INA-GRM: Synthétiseur ordinateur (Cahiers recherche/musique 3)
• Ruschkowski, André: Soundscapes : elektronische Klangerzeugung und Musik
• Beauchamp, James W. & Von Foerster, Heinz: Music by computers
• Howe, Hubert S.: Electronic music synthesis
• The arts & technology : a symposium, April 9-12, 1986, at Connecticut College
• The arts & technology II : a symposium, February 2-5, 1989, Connecticut College
• Proceedings : the fourth biennial Arts & Technology Symposium, March 4-7, 1993, Connecticut College, New London, Connecticut
• Strawn, John (ed.): Music and digital technology : the proceedings of the AES 5th international conference, [Los Angeles, California, 1987, May 1-3]
• Leopoldseder, Hannes (ed.): Der Prix ars electronica [1994] : internationales Kompendium der Computerkünste = international compendium of the computer arts
• Leopoldseder, Hannes & Schöpf, Christine (ed.): Der Prix ars electronica 95 : internationales Kompendium der Computerkünste = international compendium of the computer arts
• Austin, Larry & Clarke, Thomas (ed.): Proceedings : 1981 International Computer Music Conference November 5-8 : presented by the School of Music and the Union Program Council North Texas State University, Denton, Texas USA
• International Computer Music Conference 1984 = Conference internationale d’informatique musicale, 19-23 octobre, Paris, France
• Berg, Paul (ed.): Proceedings of the International Computer Music Conference, Royal Conservatory, The Hague, Netherlands, October 20-24, 1986
• Beauchamp, James (ed.): Proceedings of the 1987 International Computer Music Conference : University of Illinois at Urbana-Champaign, Urbana, Illinois USA, August 23-26, 1987
• Lischka, Christoph & Fritsch, Johannes (ed.): Proceedings of the 14th International Computer Music Conference, Cologne, September 20-25, 1988
• Wells, Thomas & Butler, David (ed.): Proceedings : 1989 International Computer Music Conference, November 2-5, the Ohio State University, Columbus
• Arnold, Stephen & Hair, Graham (ed.): Proceedings : ICMC, Glasgow 1990
• Alphonce, Bo & Pennycook, Bruce (ed.): Proceedings : ICMC, International Computer Music Conference, Montreal 1991
• Strange, Allen (ed.): Proceedings : International Computer Music Conference, San José, California, October 14-18, 1992
• Ohteru, Sadamu (ed.): Proceedings of the 1993 International Computer Music Conference, September 10-15, 1993, International Computer Music Association and Waseda University
• Siegel, Wayne & Brandorff, Steffen (ed.) : Proceedings of the International Computer Music Conference 1994 : [the human touch]
• Proceedings : International Computer Music Conference : digital playgrounds : September 3-7, 1995
• Ayers, Lydia & Horner, Andrew (ed.): Proceedings of the 1996 International Computer Music Conference, August 19-24, 1996
• Rikakis, Thanassis & Cook, Perry R. (ed.): Proceedings : International Computer Music Conference 1997 : Thessaloniki, Hellas, 25-30 September, 1997
• ICMC99 : 1999 International Computer Music Conference, Beijing, China : program
• Tarkka, Minna (ed.): ISEA' 94 Catalogue
• Actes : 6e Symposium des arts électroniques, septembre 1995 = Proceedings : 6th International Symposium on Electronic Art, September 1995 : ISEA 95, Montréal
• Friberg, Anders ; Iwarsson, Jenny ; Jansson, Erik & Sundberg, Johan (ed.): SMAC 93 : proceedings of the Stockholm Music Acoustics Conference July 28-August 1, 1993
• Workshop on artificial intelligence and music, Tuesday, August 7, 1990 : abstracts : ECAI - European Conference on Artificial Intelligence, Stockholm, Sweden, August 6-10, 1990
• DeLio, Thomas (ed.): Contiguous lines : issues and ideas in the music of the '60's and '70's
• Dibelius, Ulrich: Moderne Musik. [1], 1945-1965 : Voraussetzungen, Verlauf, Material
• Kolleritsch, Otto: Zur Neuen Einfachheit in der Musik
• Morthenson, Jan W.: Nonfigurative Musik
• Neuland : Ansätze zur Musik der Gegenwart : Jahrbuch. Band 1
• Neuland : Ansätze zur Musik der Gegenwart : Jahrbuch. Band 3
• Neuland : Ansätze zur Musik der Gegenwart : Jahrbuch. Band 4
• Stürzbecher, Ursula: Werkstattgespräche mit Komponisten
• Zimmerschied, Dieter (ed.): Perspektiven neuer Musik : Material und didaktische Information
• Kolisch, Rudolf & Türcke, Berthold: Zur Theorie der Aufführung : ein Gespräch mit Berthold Türcke (Musik-Konzepte 29/30)
• Evangelisti, Franco: Franco Evangelisti (Musik-Konzepte 43/44)
• Kagel, Mauricio: Worte über Musik : Gespräche, Aufsätze, Reden, Hörspiele
• Gottfried Michael Koenig (Musik-Konzepte 66)
• Sabbe, Herman: György Ligeti : Studien zur kompositorischen Phänomenologie (Musik-Konzepte 53)
• Sabbe, Herman: Karlheinz Stockhausen : ... wie die Zeit verging ... (Musik-Konzepte 19)
• Garland, Peter (ed.): Soundings 13 : the music of James Tenney
• Der Komponist Isang Yun
• Erickson, Robert: Sound structure in music
• Gabrielsson, Alf: Action and perception in rhythm and music : papers given at a symposium in the Third International Conference on Event Perception and Action [Uppsala, 1985]
• Lerdahl, Fred & Jackendoff, Ray S.: A generative theory of tonal music
• Meyer, Leonard B.: Emotion and meaning in music
• Pressing, Jeff: Synthesizer performance
• Kosko, Bart: Fuzzy thinking : the new science of fuzzy logic
• Kreuzer, Franz: Gödel-Satz, Möbius-Schleife, Computer-Ich : Franz Kreuzer im Gespräch mit Paul Watzlawick, Werner Schimanovich, Eckehart Köhler, Paul Badura-Skoda und Werner Leinfellner
• Richards, Whitman (ed.): Natural computation
• Risset, Jean-Claude: An introductory catalogue of computer synthesized sounds
• Gravesaner Blätter 18

New issue of Hz, #16

Quantum Improvisation: The Cybernetic Presence
by Pauline Oliveros
"It's already evident that computers and human intelligence are merging. What would I want on a musician chip if I were to receive the benefit of neural implant technology? What kind of a 21st Century musician could I be?" Composer/musician and one of the key figures of electronic music Pauline Oliveros' essay from 1999 centres around the question by revisiting 100 years of music history since the first magnetic recording in 1899.

Moistmedia, Technoetics and the Three VRs
by Roy Ascott
One of the most influential theoreticians/artists in the field of telematics Roy Ascott's article about Moistmedia, written in 2000, in which he predicts "a convergence of three VRs" (Virtual, Validated and Vegetal): "At this interspace lies the great challenge to both science and art: the nature of consciousness. A technoetic aesthetic is needed which...may enable us as artists to address the key questions of our time."

Grains of Gold in All This Shift: Web 2.0, Crowdsourcing and Participatory Art
by Amanda Wasielewski
"The Web 2.0 ideas of 'social networking' and 'crowdsourcing' have filtered through to the art world where artists are, whether consciously or not, using Web 2.0 principles and forms in their work." Amanda Wasielewski's critical examination over the recent activities of participatory art both on and offline which "begins to look like crowdsourcing."

Dynamic screen / room:
by Thore Soneson
"During the last decades moving images, video and screens have expanded from on-the-wall projections to dynamic and multi-modulated images in different spatial settings – on multiple screens, in dynamic and interactive room environments and in an immersive physical context." Film maker/producer Thore Soneson's research into the contemporary "dynamic screen" for his project "Journey to Abadyl".

First Museum Shooters
by Mathias Jansson
"When the small company id Software in Texas, USA, 1993 released the videogame Doom few would have guessed that this game would change the entire game industry, and even fewer would have guessed which impact Doom would have on the art world." Game Art specialist Mathias Jansson's article about "museum shooters" in the field of Game Art.

SONOMATERIA: Audio-tactile Composition
by Irad Lee
Irad Lee, sound and interaction designer, "describes the inspiration and implementation of SONOMATERIA, a multi-user sound sculpture, installation, tangible sound interface and intersensory composition," which "aims to explore the mutual reinforcing effect that the manipulation of tactile and auditory perceptions can have on each other...."

Sound art courses in Sweden

There are at least two courses in sound art for active professionals (e.g. artists, musicians, sound engineers) that might be of interest this year.

The first is a one-year sound art course (M.A., 60 ECTS), at The Stockholm Academy of Dramatic Arts in Stockholm. The course is arranged in collaboration with EMS, and will be taught in Swedish. The course info is also in Swedish, but with some help from a well-known free online service, I've translated it thus:

The master's programme in sound art is a multi-disciplinary training aimed at professionals who are interested to deepen and explore sound art. The training focuses on sound installation and you will explore how sound can be used in different rooms and on different types of sites.

The purpose of the course is to provide an overview of methods and processes within the sound art field, and an understanding of the role of sound in contemporary art.

The goal is to help you gain knowledge and understanding of sound installation in public and other rooms, and how to use sound as a tool in various types of artistic production. In parallel with ongoing practical production training, we will discuss artistic courage and the ethical approach to working with sound in public places.

The second is a distance learning course in sound art and sound design (15 ECTS), at The Department of Music and Media at Luleå University of Technology in Piteå in Northern Sweden. Since the course info is in Swedish, I guess the course will be taught in Swedish, too. English translation:

The course is for artists and other interested who want to work with sound creation and sound design. Your individual production work is done continuously during the course and is combined with seminars, workshops, lectures, group work and individual supervision. Current events in the sound field may be treated on the course.

During the course you will meet active practitioners as lecturers and at workshops. You will learn about various tools like Pure Data and Audiomulch, solder piezo-electric microphones, work with field recordings and sound installations interspersed with studies of existing sound/sound design-work, and immerse yourself in your own project to be presented at the end of the course.

Four meetings during autumn 2011 and 2-3 meetings in spring 2012, combined with distance learning at any place.

The application deadline for both courses is April 15, 2011. The deadline for the course at the Stockholm Academy of Dramatic Arts has been extended to May 17, 2011.

Some conference calls for 2011

FIMPaC 2011. The Forum for Innovation in Music Production and Composition, Thursday 12 & Friday 13 May 2011, Leeds College of Music. Deadline for the submission of proposals: Friday 25 March 2011

Audio-visuality. A conference on the experience of audio-visual art, artefacts, and media texts. May 26-29, 2011, Aarhus(?), Denmark. Deadline for paper submissions: February 15, 2011

NIME 2011. 11th International Conference on New Interfaces for Musical Expression. 30 May - 1 June 2011, Oslo, Norway. Deadline for paper/performance/installation/workshop submissions: 31 January 2011 (22:00 CET)

EMS 2011. Electroacoustic Music Studies Conference, June 14-18, New York. Deadline for receipt of proposals for papers: Monday, January 17, 2011 midnight EST

ICAD 2011. International Community for Auditory Display conference, June 20-24, Budapest. Deadline for papers, posters, and aural categories (short oveview of intent): 31 January 2011

SMC 2011. 8th Sound and Music Computing Conference, 6-9 July 2011, Padova, Italy. Deadline for paper and music submissions: Friday 25 March 2011

ACMC 2011. The Australasian Computer Music Conference 2011, 6-9 July 2011, The School of Music, University of Auckland, New Zealand. The special theme of ACMC11 is Organic Sounds in Live Electroacoustic Music. Deadline for receipt of proposals of papers and creative work: Thursday 31 March 2011

ICMC 2011. International Computer Music Conference (ICMC), 31 July to 5 August, Huddersfield, West Yorkshire, UK. Deadline for music and paper submissions: 18 January

UVM 2011. Understanding Visual Music 2011, Concordia University, Montreal, Canada, August 26th and 27th. Deadline for reception of proposals: June 18th, 2011

DAFx-11. The 14th International Conference on Digital Audio Effects, September 19-23, IRCAM, Paris, France. Deadline for full paper/poster submissions: Thursday March 31th, 2011. The proceedings are available online.

Electroacoustic music meta-bibliography

The meta-bibliography is available again, in a thoroughly revised and updated version.

(The EAM meta-bibliography is a bibliography of electroacoustic music bibliographies. It is a spin-off from my master's thesis in library and information science, and covers websites, books and journal articles that list items of interest to EAM composers and researchers.)

New journal: JAR - The journal for artistic research

"The journal for artistic research (JAR) is an international, online, Open Access and peer-reviewed journal for the identification, publication and dissemination of artistic research and its methodologies, from all arts disciplines. The Journal is underpinned by the Research Catalogue (RC), a searchable, documentary database of artistic research work and its exposition, that functions as an inclusive, open-ended, bottom-up research tool supporting the development of the Journal's academic contributions."

Issue #0 presents work by:

• Bertha Bermudez, Scott deLahunta, Marijke Hoogenboom, Chris Ziegler, Frederic Bevilacqua, Sarah Fdili Alaoui, Barbara Meneses Gutierrez, Amsterdam
• Richard Blythe, Melbourne
• Sher Doruff, Amsterdam
• Cathy van Eck, Zürich
• Mark Fleischman, Cape Town
• Abhishek Hazra, Bangalore
• Anders Hultqvist, Gothenburg
• Daniel Kötter, Constanze Fischbeck, Berlin
• Tuija Kokkonen, Helsinki
• Elina Saloranta, Helsinki
• Sissel Tolaas, Berlin
• Otto von Busch, Gothenburg

JAR is published by the Society for Artistic Research (SAR). "[SAR] was established in March 2010 as an independent, non-profit organisation for the purpose of publishing JAR." SAR:s institutional members are art and design schools and universities.

The journal invites submissions. JAR is peer-reviewed, but not the RC.

Hz calls for articles

On-line journal Hz (www.hz-journal.org) is looking for articles on New Media, Net Art, Sound Art, Electro-Acoustic Music, Virtual World/Machinima. We accept earlier published and unpublished articles in English. Please send your submissions to hz-journal@telia.com

Deadline: 1 March, 2011

Hz is published by the non-profit organization Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden.  For more information on Fylkingen, please visit http://www.fylkingen.se/about or http://www.hz-journal.org/n4/hultberg.html

The journal of music and meaning revamped

In the new issue, no. 9, of The journal of music and meaning, the editors announce that the journal will be published in blog format from now on. Entire issues will not be published at the same time. Instead, papers will appear in the blog when ready. The posts consists of and abstract, the author's credentials, and a link to the paper in PDF. This is good news, although I find the new format somewhat confusing, perhaps because the new issue lacks a table of contents.

JMM #9 contains some articles of particular interest to readers of this blog:

• "Through thick and thin: the ontology of tape music" by Adam Stansbie
• "Meaningful scribbles: an approach to textual analysis of unconventional musical notations" by Douglas C. Wadle
• "Luciano Berio’s "Sequenza V" analyzed along the lines of four analytical dimensions proposed by the composer" by Niels Chr. Hansen
• "Rediscovering Artaud's sonic order" by Felipe Otondo
• "Why recorded music matters: a review essay" by David Hebert