Articles

The Oregon State University is looking for a Music Technology and Production tenure-track Assistant Professor in Corvallis, OR (about 45 minutes north of Eugene and about 1 hour and 45 minutes south of Portland).
The School of Arts and Communications, Music area invites applications for a full-time (1.00 FTE), 9-month, tenure-track Assistant Professor position. This faculty member will serve as an Assistant Professor and coordinator of Music Technology and Production.

The (KHM) is committed to advancing interdisciplinary approaches to media art. Sophisticated theoretical and project-based courses are individually combined leading to a diploma (Diploma I, II). The acquisition of practical artistic experience combined with theoretical and technical competences is considered paramount.

The Academy of Media Arts / Department exMedia invites applications for:
– Professor in Sound, (Level W3 according to German civil service employees’ tariff). It is a part time position and—for the time being—limited to 3 years. The position is expected to be filled at the earliest possible date, latest for the winter term 2016/17.
The chairholder will be expected to cover the extensive field of sound in research and teaching. A focus on performative and poetic practices and diversities with all its possible implications, ramifications and forms of expression through the interconnected genres and medias is desired.

We are looking for a composer-performer with an established international reputation who is interested in challenging, integrative and cooperative work with students and colleagues in audiovisual media and open to cross borders between different artistic and musical genres and categories, developing performative concepts in connection with all kinds of visual arts, their codes and forms of expression (including instrument building as well as sound design and intermedia works in space).

The decisive criteria is outstanding artistic talent. Further requirements are specified in § 29 Kunsthochschulgesetz NRW. Pedagogical aptitude and language skills are a general prerequisite including the willingness to contribute to the academy’s self-organization.

Further prerequisites include:
– Profound knowledge of music history including non-western music, relevant to contemporary discourses in music (ethnic diversities).
– Competence in the use of recent music technology (hardware and software) as well as traditional instruments.
– Profound interest in philosophical questions related to the creation of music as well as its recording.
– Profound knowledge of subcultural fields in today’s sound world.

Expected is contribution to the development of the of the sound lab (Klanglabor), a platform for experimental projects and advanced research and teaching to be operated and further developed as an independent unit within the departments of Art, Film and Television, exMedia and Art and Media Studies. International activities and the development of a global platform for creative work and publications are of utmost importance.
Special attention should be paid to elementary problems of musical understanding (psychological interpretations and physiological explanations) while working with students at the KHM, who are not required to have professional knowledge in sound practices.

The KHM strives to raise its female quota in research and teaching positions. Applications by women will be given priority if qualifications and professional expertise are equivalent to those of male applicants and reasons specific to individual candidates do not prevail. Applications by disabled persons and those with equal status according §2 SGB IX (German Code of Social Law) are specifically encouraged

Please submit your complete application by February 15, 2016 to : Rektor der Kunsthochschule für Medien Köln, Peter-Welter-Platz 2, 50676 Cologne Germany
Phone +49 (0)221-20189-0
Fax +49 (0)221-20189-17
For further information, please contact Thomas Hauch, extension -134

The Department of Audio Arts and Acoustics of the School of Media Arts at Columbia College Chicago invites applications for the position of Chairperson.
The Department consists of 10 full time and 26 part-time faculty from fields as diverse as: live sound reinforcement, studio music recording, acoustics, sound design, audio art, audio for visual media, installed sound systems, hearing and sound perception and academic support to multi-media, film and broadcasting curriculum across the College.
The Chairperson reports to the Dean of the School of Media Arts and works closely with program directors, coordinators and faculty, as well as other chairpersons and College leadership.

The chairperson of the Audio Arts and Acoustics department is expected to:
• Provide the faculty with focused leadership in curriculum development, teaching excellence, professional and artistic development and support new endeavors in academic research and artistic practices.
• Demonstrate a clear commitment to assessment of academic programs and curricula.
• Actively engage the professional community for support of curricula and programs.
• Provide pragmatic, administrative and managerial skills in areas of fiscal responsibility, staff management, prioritization of resources, facilities, fund raising and team building.
• Actively support the College’s, School of Media Art’s and Department’s Mission and demonstrate a commitment to Faculty Governance.

Qualifications: The candidate must possess an advanced or terminal degree with teaching experience at the college or university level, management and leadership experience and appropriate credentials for academic tenure.

Application material must include:
1. A letter, outlining the applicant’s background, qualifications, and vision for the position.
2. A Curriculum Vitae.
3. Contact information for five references. References will not be contacted without the prior consultation with the applicant.

The review of applications will begin February 1, 2016. The position begins July 15, 2016. One of the largest private, not-for-profit arts and media colleges in the U.S with over 8,900 students, Columbia College Chicago provides access to higher education to young people who learn creative practice and professional skills in a vibrant and diverse urban setting. Now in its 126th year, the institution has grown from a small, vocationally focused regional school to a national institution with a growing reputation in a wide array of creative fields anchored by a strong commitment to the liberal arts. The College is committed to increasing cultural and gender diversity.

Additional Information : This is a non-union position. Columbia College Chicago is an EEO Employer. Qualified candidates of diverse backgrounds are encouraged to apply.
To view the complete job description and apply, please visit https://colum.taleo.net/careersection/jobdetail.ftl?job=1500005B&lang=en

Appel à communications

Les Journées d’Informatique Musicale réunissent chaque année pendant plusieurs jours, des chercheurs en Informatique Musicale, des scientifiques et différents acteurs de la vie musicale utilisant l’informatique comme moyen d’expression, comme aide à la composition ou comme outil pédagogique. Cette édition est organisée par le GMEA – Centre National de Création Musicale d’Albi-Tarn (http://gmea.net), en collaboration avec le LaBRI – Laboratoire Bordelais de Recherche en Informatique (https://www.labri.fr) et le SCRIME – Studio de Création et de Recherche en Informatique et Musiques Expérimentales (http://scrime.labri.fr).

L’édition 2016 des Journées d’Informatique Musicale se déroulera du 31 mars au 2 avril à Albi, en résonance avec le festival annuel du GMEA, les Journées électriques.

Thème de l’édition 2016: Au-delà des thèmes habituels qui sont reconduits, le thème mis en avant pour cette édition est celui de l’écriture du temps et de l’interactivité. Ce thème pourra être abordé du point de vue des modèles et des outils informatiques nécessaires à l’analyse, la notation ou l’exécution de cette écriture, comme du point de vue des problématiques liées à ses différentes représentations, qu’elles soient temporelles, logiques, spatiales ou bien liées aux instruments auxquels elle se destine.

Thèmes reconduits :
Systèmes informatiques
• Systèmes et protocoles temps réel pour l’informatique musicale
• Logiciels libres pour l’analyse, la synthèse, le traitement des sons et la création musicale
• Nouvelles stratégies pour la sonification de données
• Algorithmes et interfaces pour la spatialisation sonore

Création assistée par ordinateur
• Environnements et langages d’aide à la composition musicale
• Orchestration assistée par ordinateur
• Systèmes pour la création musicale, de la microstructure à la macroforme
• Systèmes de composition et d’arrangement automatiques

Interprétation, arts performatifs et technologie
• Interfaces logicielles et matérielles pour l’interprétation et l’exécution musicale
• Dispositifs matériels et logiciels pour pièces interactives
• Modélisation et simulation de l’interprétation musicale
• Captation et extension numérique du geste instrumental
• Geste, virtuosité et nouveaux médias
• Nouvelles interfaces, nouveaux modes de jeu

Notation musicale
• Logiciels de reconnaissance optique de partitions
• Systèmes pour l’édition et la publication musicale
• Notation et visualisation de la musique
• Partitions interactives

Aspects historiques et préservation
• Histoire et aspects sociologiques de l’informatique musicale
• Définition/redéfinition du rôle du réalisateur en informatique musicale (RIM)
• Normalisation, archivage et transmission de l’information musicale
• Portage et recréation d’œuvres mixtes et interactives
• Préservation des œuvres utilisant les technologies numériques
• Rapports d’activités de centres de recherche musicale

Musicologie et ethnomusicologie computationnelles
• Formalisation et représentation des structures musicales
• Formalisation et modélisation des connaissances musicales
• Modélisation et simulation de la perception sonore et musicale
• Outils d’aide à l’analyse musicale
• Systèmes d’analyse et de traitement du signal acoustique
• Reconnaissance et extraction automatique des paramètres musicaux
• Modélisation des instruments de musique

Format de soumission: Les articles peuvent être écrits en français ou en anglais, pour un minimum de 4 pages et un maximum de 10 pages. Les communications donneront lieu à des conférences, des posters ou des démonstrations. Les articles doivent être soumis au format PDF. La mise en page doit être réalisée à partir des modèles Word ou Latex disponibles sur le site de la conférence.
Les travaux présentés pourront concerner : Un état de l’art, des avancées scientifiques et/ou techniques, des retours d’expérience / des rapports d’expérimentations, des exemples de mises en œuvre de ces technologies. Les articles sont à soumettre via la plateforme Easychair accessible depuis le site des JIM 2016 : https://easychair.org/conferences/?conf=jim2016

Dates importantes
– Date limite de soumission des articles : 10 janvier 2016
– Notification d’acceptation aux auteurs : 29 février 2016
– Dépôt versions définitives des articles : 14 mars 2016
– Dates de l’événement : 31 mars, 1 et 2 avril 2016

Applications are now accepted for the MMus in Sonic Arts at the University of Aberdeen. It is a one-year full-time (or two-year in part-time) taught programme that prepares students for careers in creative industries and artistic, commercial and academic research where creative approaches to sound are in demand.The programme offers not only a comprehensive overview of sonic arts from historical and theoretical viewpoints, but also hands-on, practical and skills-based core courses that can help students design and realise original sound projects throughout the programme and build a strong portfolio as a sound artist. For our MMus in Sonic Arts encourages students to engage in a broader spectrum of compositional/artistic practice.

Based on such a principle, we provide our MMus students with a wide variety of opportunities outside the coursework, including:
sound festival (http://www.sound-scotland.co.uk/), the largest contemporary music festival in NE Scotland in October-November;
sonADA (https://www.facebook.com/sonADAMusic), a new experimental/electronic music festival in April;
Rediscoveries Series, electroacoustic concert series by the University of Aberdeen
Also we have a research group called SERG (Sound Emporium Research Group) of which any MMus and PhD students in EA/experimental composition/performance can become a member. Visit its site for more information. SERG is a very active research group, having realised many interesting projects over the recent years.

As a member of SERG, you’d not only participate in Rediscoveries Series, but more importantly you will benefit from its monthly SERG SAW (Sonic Arts Workshop) meetings, which attract not only students and staff from the music department, but also students from Computer Science and Film and Visual Culture, etc. as well as those who are outside the university working as sound artists and performers. We explore various topics that are pertinent to the coursework, and sometimes those that are extensive, bringing expertise and interest of all SERG members.

If you have any more questions regarding our Sonic Arts programme or submitting your application form, please contact Suk-Jun Kim, programme coordinator (s.kim@abdn.ac.uk). To apply for the programme, visit here

Seeing Sound is an informal practice-led symposium exploring multimedia work which foregrounds the relationship between sound and image. It explores areas such as visual music, abstract cinema, experimental animation, audiovisual performance and installation practice through paper sessions, screenings, performances and installations.

Seeing Sound 4 will take place at Bath Spa over the 9th and 10th of April 2016. It represents a move away from the winter months, and a physical move also – although still hosted on our idyllic Newton Park campus, the event will be hosted in our new state-of-the art Commons building. We will make full use of the two-storey MediaWall that stands at its centre in a programme which foregrounds video synthesis and expanded cinema.

We are now open for submissions of papers, fixed media works and performance works and – as a special call this year – are looking for imaginative proposals for the MediaWall and atrium space of our new building. The deadline for all submissions is 29 January 2016.

More information can be found on the Seeing Sound site

+++ NACHTSTROM 76 +++

Donnerstag, 17. Dezember 2015, 21:00 Uhr, Gare du Nord, Basel

PROGRAMM

Andreas Eduardo Frank (*1987)
Waveshaping | 2014/2015
für vier Perkussionisten und Lautsprecher

Karlheinz Essl (*1960)
Sequitur X | 2008
für Posaune und Live-Elektronik

Alexandre Kordzaia (*1994)
Reliable People | 2015
für Klavier und ARP 2600

Frederic Robinson (*1992)
Shimmer | 2015
Tonbandstück

Till Zehnder (*1992)
Kastenklang | 2015
für Klavier und Elektronik

Mitwirkende:

Ana Carlota Cáceres Bermejo, Perkussion
Laura Chihaia, Klavier
Andreas Eduardo Frank, Elektronik
Miguel Ángel García Martín, Perkussion
Jan Gubser, Elektronik
Alexandre Kordzaia, ARP 2600
Roberto Maqueda, Perkussion
João Carlos Pacheco, Perkussion
Frederic Robinson, Elektronik
Pio Schürmann, Klavier
Damián Stepaniuk, Posaune
Till Zehnder, Elektronik

1. MUSEINSITU #5 : MOTUS & L’INSTANT DONNÉ
À la Muse en Circuit, Alfortville
samedi 12 décembre à 20h30

Sur réservation uniquement :
info@alamuse.com

Motus s’associe au collectif L’Instant Donné pour une sortie de résidence des studios de la Muse en Circuit, afin de créer un événement intime où se mêle acousmatique, musique instrumentale, électronique et vidéo.

Programme :
Pierre Stordeur Drifting 1 pour alto, gong et électronique /
Thomas Hilbert, Les Trois Furies acousmatique
Pierre Stordeur Drifting 2 pour violon seul
Nicolas Vérin (musique) Robert Cahen (images) Cérémonies vidéo-accousma
Pierre Stordeur Drifting 1+2 pour alto et violo /
Michèle Bokanowski Pour un pianiste acousmatique
L’Instant donné
Elsa Balas alto
Saori Furukawa _violon
Motus
Jonathan Prager acousmonium
Environnement sonore : Vincent Laubeuf

Entrée libre
uniquement sur réservation : info@alamuse.com ou au 01 43 78 80 80
Lieu : La Muse en Circuit,
18 rue Marcelin Berthelot, 94140 Alfortville
M° 8 École Vétérinaire de Maisons-Alfort

2. Evénement : 3ème Concours Prix PRESQUE RIEN

Motus à le plaisir de participer au concert qui aura lieu lors de la remise de ce prix. Nous serons présent avec Jonathan Prager qui sera à la console de notre acousmonium pour la plupart des pièces jouées.

1er prix Hideki UMEZAWA, pour sa composition « Le Néant »

Deux Mentions Spéciales ont été attribuées à Lisandro BARBATO pour « To bee or not to bee » et Johannes S. SISTERMANNS pour « Passage_vertical_Paysage »
Ont été nominés les œuvres : « La Boucle » de Manfredi CLEMENTE, « Presque mon son » de Manuella BLACKBURN et « memoires de femmes, paysage, passage » de Laurence BOUCKAERT.

Les compositeurs également retenus sont :
Ai Watanabe, Laszlo Umbreit, Catherine Schneider, Marcelo Carneiro, Dimitrios Maronidis, Martin Daske, Jérôme Lagueyte, Milena Kipfmüller, José-André Deutsch Olivier Falcou, Kyohei Hayashi, Tomoko Suzuki, Yingzi Li

La remise du Prix accompagnée d’un concert des différents lauréats aura lieu le 11 décembre 2015 à 20h30

Organisé par : l’associacion Presque rien
Entrée libre uniquement sur réservation : info@alamuse.com ou au 01 43 78 80 80
Lieu : La Muse en Circuit,
18 rue Marcelin Berthelot, 94140 Alfortville
M° 8 École Vétérinaire de Maisons-Alfort

3. LES TERRITOIRES DU SON sur RSF 94.2 – SAISON 10

La radio du Val de Drôme (France) chaque lundi de 21h00 à 21h30 (rediffusion le dimanche suivant à 15h00), ainsi que sur le site Internet de la station
Découvrez la nouvelle page de programme des émissions ici : lesterritoiresduson94-2fm.weebly.com

Lundi 7 décembre (rediffusion dimanche 13 décembre)
Séquence découverte : Créations au festival Futura 2015
Livia Giovaninetti ‘J(d)O2(a)’ (12:39)
Olivier Lamarche ’31/1 (Sérendipité)’ (15:00)
Séquence éclectique
BJ Nilsen ‘Pole of Inaccessibility’ (06:34)

Lundi 14 décembre (rediffusion dimanche 20 décembre)
Séquence éclectique XL
Chuck Bettis ‘Pixel Bleed’ (pièces 4 à 11, 40:05)

Lundi 21 décembre (rediffusion dimanche 27 décembre)
Séquence découverte : Création au festival Futura 2015
Paul Ramage ‘7 variations sur le thème de Narcisse’ (19:00)
Séquence éclectique
Kotra ‘Rational Attack’ (09:22)
Kotra ‘Absent Response’ (08:29)

Lundi 28 décembre (rediffusion dimanche 3 janvier 2016)
Séquence découverte XL
Autechre ‘Exai’ (pièces 1 à 8, 48:00)

Programmation et réalisation de Bérangère Maximin.
Production Home Sweet Home studio et Motus pour la station RSF 94.2
motus.fr

Brooklyn College will launch two new MFA programs in composition next fall — one in Media Scoring and the other in Sonic Arts.

We are trying to get the word out immediately, since we know that many students are already preparing their applications for next fall. If you know of any students who might be interested, we would love to hear from them.
Any interested students may email directly at dgeers@brooklyn.cuny.edu . We also have overviews of the degrees on our Center for Computer Music website:
http://www.brooklyn.cuny.edu/web/academics/centers/ccm/education.php

Media Scoring will instruct students in current techniques of composing and producing music for visual media such as films, TV, and video games. Nearly all of the courses for the program will happen at our new Feirstein Graduate School of Cinema:
http://www.brooklyn.cuny.edu/web/academics/schools/mediaarts/schools/feirstein.php

Sonic Arts will instruct those who create music, sound art, and sound design using new technologies. It will have flexible curriculum to allow each student to customize based on his/her interests. Given the non-traditional backgrounds of professionals currently working in the field, Sonic Arts will not require applicants to possess a bachelor’s degree in music (although we welcome it!). Sonic Arts courses will happen at the Feirstein School and on our main campus, including our new Performing Arts Center. Given the late notice of these degrees, we will have a rolling deadline for admissions. However for priority consideration applicants should submit materials by January 18, 2016. A number of partial-tuition scholarships will be available for incoming students.

Electronic Music + Visual Arts program at the Banff Centre in March – applications are due December 2, 2015.
Convergence Residency: Electronic Music + Visual Art
https://www.banffcentre.ca/programs/convergence-residency-electronic-music-visual-art/201603
Program Dates: March 6 – 26, 2016

We have entered into a post-instrument era in which music and visual art born of technology produce contemporary, dynamic and convergent new forms. Traditional apparatus and techniques are displaced by computer based processes, virtual instruments, electronic hardware and custom machines, stems, patches, waveforms and midi. This inaugural residency welcomes artists working in rhythmic and experimental electronic music realms, digital visual artists, and those pursuing work that creates synergies between sound, music and art.
This residency provides the context for artists to research, conceive, prototype and present new artistic works, tools, techniques and perspectives for electronic music, sound, and visual creation. Under the artistic direction of Patti Schmidt and Jen Mizuik, and led by faculty Robin Fox and Uwe Schmidt with guest faculty who are specialists in their fields, the program will offer sessions and workshops on modular synthesizers, electronic music software and hardware, visual creation software and methods, artistic process and philosophy, and the nature of live performance in these technologically dominated fields. Together artists, peers, and world-renowned faculty will exchange knowledge, discuss ideas, experiment with processes, create, collaborate, perform, and share artistic experiences.
Artists will have the chance to present their works-in-progress throughout the program. The nature of the practices involved will determine the presentation format and may range from a live performance, an informal presentation, an installation, a talk or workshop, or something else entirely. Artists will receive technical and artistic guidance during the development of their projects and research.

Electroacoustic WALES presents DEDANS-DEHORS
acousmatic music from indside and outside

François Bayle – Toupie dans le ciel
Alex Bailey – Autumn
Richard Garrett – Crunch
Andrew Lewis – Tantana
Andrew Hooker – Etude
Bernard Parmegiani – Dedans-Dehors
Louise Rossiter – Cyclic Motion
Steven Tunnicliffe – Sandy

Friday 27th November, 7.30pm – Powis Hall, Bangor, North Wales

https://www.facebook.com/events/1249952011687135/

As it is the annual scholarship preparation season, I would like to let you know of the following options available at the Music, Technology and Innovation Research Centre (MTI) at De Montfort University. This centre has possibly the largest number of electroacoustic composers and scholars in one higher education department nationally if not across Europe or further afield.

De Montfort offers a full season of concerts, seminars, symposia as well as national and international conferences and festival. It has excellent studio and performance facilities and a range of international exchange partners including prestigious universities, conservatoires and cultural organisations from Argentina to China including many top conservatoires and universities in Europe. Examples include the GRM, ZKM, Royal College of Music (KMH Stockholm), Sibelius Academy, University of the Arts Berlin, Sorbonne, University of Montreal and many more.

Our research students focus mainly on the following areas: electroacoustic music composition/sonic arts + electroacoustic music studies. Within this framework, students have worked in areas including multimedia, dirty electronics, interactivity, sound art, community arts/education and much more. Working with our staff members, students can prepare their proposals for one of the following scholarship options:

Midlands Three Cities (M3C) Doctoral Training Programme – Arts and Humanities Research Council
This programme involves the opportunity for students to study at De Montfort and work with supervisors in the music area at Birmingham University, Birmingham Conservatoire and Nottingham University.
It is open to students based in the EU – please see: http://www.dmu.ac.uk/research/midlands3cities-dtp/m3c.aspx

There are also PhD and MA (Research) DMU bursaries (full scholarships and fees only, the Masters pending approval) that are submitted by students with their supervisors.
Deadlines for most programmes are in early January; therefore, communication with us in the coming weeks would be essential for people commencing in autumn 2016.

For more information regarding these scholarships and studying at the MTI, please contact:
Prof. Leigh Landy, MTI Director and head of postgraduate students llandy@dmu.ac.uk

For information regarding postgraduate study at DMU in general:
researchstudents@dmu.ac.uk & http://www.dmu.ac.uk/study/graduate-school/graduate-school.aspx

School of Music – University of Illinois at Urbana-Champaign
Recognized internationally for its innovations in contemporary music, the School of Music at the University of Illinois includes the Experimental Music Studios (EMS)—the first of its kind in the western hemisphere when it was founded in 1958. We seek a dynamic composer with a wide range of musical and technical skills to direct and shape the future of EMS, and contribute to the School’s rapidly growing Bachelor’s degree in music technology.

Qualifications:
The successful candidate will have an active and recognized career as a composer. Expertise in digital technology, including sound recording and production, is required. The successful candidate should also demonstrate skills in one or more related areas such as emerging media; gaming; video and film; interactive performance; programming; and interdisciplinary work.

Duties and responsibilities:
The candidate will maintain a distinguished record of national and/or international distinction in the relevant fields. The new director of EMS will teach courses in electro-acoustic music composition, sound recording, and music production, as well as composition lessons for undergraduate and graduate students. Other course topics may include multimedia, theory/analysis of electro-acoustic music, computer programming for music and sound, interactive electro-acoustic music performance, etc., following the successful candidate’s strengths and interests. The new director may also play an important role in the new interdisciplinary design center at the University of Illinois, projected to open in the near future. Additional duties include maintaining the EMS studios, recruiting students, participating in curriculum design for the music technology program, advising, and service to the University and to the field.

Requirements:
Doctorate or terminal degree in music composition or relevant related field (earned by 15 August 2016) required, or equivalent professional experience.

Rank and Salary:
This is a full-time tenure-track position with an anticipated start date of August 16, 2016. Salary commensurate with qualifications.

Application Materials:
To ensure full consideration, complete applications should be received by November 23, 2015. Please create your candidate profile at http://jobs.illinois.edu and upload the following:

-Letter of Interest;
-Curriculum Vitae;
-Vision Statement for the future of digital composition in EMS and the Bachelor’s degree in music technology at the University of Illinois (maximum one page);
-Names and contact information of three references.

Please submit only the itemized materials at this time; requests for additional materials may come at a later date. Please direct any inquiries to Heinrich Taube, Chair, Music Composition Search Committee, office phone 1-217-244-2684 or taube@illinois.edu.

The University of Illinois conducts criminal background checks on all job candidates upon acceptance of a contingent offer.

Illinois is an equal opportunity employer and all qualified applicants will receive consideration for employment without regard to race, religion, color, national origin, sex, sexual orientation, gender identity, age, status as a protected veteran, status as a qualified individual with a disability, or criminal conviction history. Illinois welcomes individuals with diverse backgrounds, experiences, and ideas who embrace and value diversity and inclusivity. (www.inclusiveillinois.illinois.edu).

https://jobs.illinois.edu/faculty-positions/job-details?jobID=57789&job=college-of-fine-and-applied-arts-assistant-professor-of-music-composition-digital-media-music-technology-school-of-music-f1500135

I am pleased to announce the call for works (papers, posters, installations, and performance works) for the upcoming Contemplative Practices for the 21st Century University conference that will take place at Virginia Tech, March 10-12, 2016.

As part of the conference, Virginia Tech Institute for Creativity, Arts, and Technology (ICAT) invites proposals for art, installations, and technology demonstrations with focus on contemplative practice. While proposed art and installations should also leverage technology, within the context of this submission we define technology in the broadest terms possible.

All submissions will be reviewed by an interdisciplinary panel consisting of ICAT faculty and will be assessed on their feasibility within the context of available conference infrastructure and resources. Selected projects will be showcased as part of the reception and a concert at the Moss Arts Center. Where appropriate, some submissions may be also presented in a paper and/or poster format as part of the « Technology » track.
Authors of selected submissions will be expected to attend the conference. We are particularly interested in performance works that leverage ICAT’s unique infrastructure, including Cube and Perform Studio. To apply, please see the ICAT Submissions Form on the website below. The deadline for submissions is December 18, 2015.

http://www.cpe.vt.edu/cptcu/submissions.html

Les terroristes qui ont tué aveuglément à l’intérieur du Bataclan, aux terrasses de cafés et de restaurants, aux abords du Stade de France, ont voulu s’attaquer à nos libertés, à notre jeunesse, à notre mode de vie où l’art et la culture occupent une place prépondérante, à nos valeurs qui fondent notre démocratie et notre société ouverte et tolérante.

Au nom de ses 153 000 membres en France et dans le monde, la Société des auteurs, compositeurs et éditeurs de musique et l’ensemble des salariés de la Sacem expriment leur horreur absolue face à ces actes lâches et abjects qui ont frappé tant de personnes parmi lesquelles de très nombreux spectateurs et professionnels des métiers de la filière musicale réunis au Bataclan par leur amour de la musique.

Ils expriment leur profonde compassion pour les victimes, partagent la douleur de leurs familles, de leurs proches et ont une pensée particulière pour les blessés dont certains sont toujours entre la vie et la mort.

Ils pensent notamment à leurs amis et collègues du Bataclan, de Mercury et d’Universal, d’Alias Productions, de Nous Productions, d’Astérios Spectacles, des Inrockuptibles et de France 24 qui figurent déjà parmi les victimes.

Face à la terreur et à la barbarie, il n’y aurait de pire attitude que de céder ou de renoncer à nos valeurs communes. La musique incarne cette liberté que les terroristes ont voulu étouffer en frappant le Bataclan.

Comme des millions de Français, le monde de la musique reste debout et rappelle son attachement à la liberté d’expression et de création.

Le Conseil d’administration de la Sacem a d’ailleurs pris la décision de créer, dans le cadre de son action culturelle, un fonds de soutien exceptionnel pour venir en aide aux professionnels du spectacle vivant pour lesquels les attentats du 13 novembre auront des conséquences économiques inévitables.

I am pleased to announce availability of a competitive ICAT graduate research assistantship starting with the academic year 2016-7. We are specifically looking for students who are interested in studying in the newfound Human-Centered Design (HCD) transdisciplinary individualized PhD and/or Computer Science’s Human-Computer Interaction (HCI). We are also willing to consider Masters level applicants to the CS program with focus on HCI.

HCD Option
Virginia Tech’s new individualized Human-Centered Design (HCD) iPhD
transdisciplinary degree is closely aligned with the newfound Institute for Creativity, Arts, and Technology (ICAT). iPhD is a degree designed primarily to support individually tailored PhD experiences, allowing students to actively participate in shaping their plan of study.

CS HCI Option
The graduate program in the Department of Computer Science at Virginia Tech is on its way to becoming one of the top programs in the country. The resources and facilities for research areas such as human-computer interaction, bioinformatics, and high-end computing are state of the art, and the growing list of specialized masters and doctoral degrees in a variety of areas provides opportunities for students to concentrate their research and study on the specific aspects of computer science in which they are most interested.

At Virginia Tech, students receive firsthand instruction by award-winning faculty. In the computer science department, that means that graduate students have the opportunity to learn from the professors who have helped to define today’s computer industry. The Center for Human-Computer Interaction is a part of ICAT, offering a diverse infrastructure and human expertise for cutting-edge research.

The GAship in question seeks candidates with a solid research background, and a strong sense of independence and self-sufficiency. We are particularly seeking students interested in sonification, sound spatialization, and interactive technologies (e.g. mind-body technologies, laptop/mobile ensembles, hyperinstruments, installations, mobile/wearable computing, etc.).

Candidates must possess a strong knowledge of Max and Pd/Pd-L2Ork programming environments. C/C++ programming (or equivalent) is also preferred, as well as skills in other domains (e.g. interactive multimedia, K-12 education, 3D animation, etc.).

This is a renewable assistantship with a full tuition waiver and a stipend. To be eligible candidates need to apply, be accepted, and enroll in the new HCD iPhD or the Human-Computer Interaction Computer Science program with primary focus in the computer music domain focusing on one or more of the aforesaid areas of interest.

The successful candidate will be given an opportunity to participate in conducting reserarch using the cutting edge 148 speaker system and consequently its innovative spatialization, sonification, and immersion approaches in the new $100M Moss Arts Center and more specifically Institute for Creativity, Arts, and Technology’s three-story Cube space and its smaller counterpart, the immersive Perform Studio, as well as the new DISIS facilities, a part of a $600,000 renovation that opened in January 2015. They will also work closely with ICAT faculty and students on a number of collaborative projects, including Tech or Treat, Maker camps, and other ICAT initiatives.

For questions and application information please contact Dr. Ivica Ico Bukvic

For more information:
ICAT
DISIS
L2Ork

INTER- #5: CALL FOR SOUND PROPOSALS (surround, multichannel, stereo, other) – as part of The Only Way is Ethics Festival, Glasgow.

For the final INTER- event of 2015, we are asking for proposals for sound work which responds to the core themes of The Only Way is Ethics Festival, which takes place across Glasgow City from 29th Nov – 6th Dec.

The festival « has a firmly ‘green’ perspective and a strong focus on social responsibility, social inclusion and animal rights ».

We would love to hear proposals which respond to the above, in any way at all. As usual, we will also consider proposals which don’t directly respond to the brief.

We can accommodate 5.1, quad, stereo and are very open to other ways and means.

The deadline for submissions is Tuesday 24th November.

INTER- #5 will take place at Stereo, Glasgow on Wednesday 3rd December and starts at 7.30pm.

More information on The Only Way is Ethics can be found here

HOW TO SUBMIT A PROPOSAL:

Please send you proposal to monostereomutations@gmail.com
with the email title INTER- #5 proposal
by the closing date of Monday 23rd November

including the following:
– proposal info – 500 words max
– any relevant links to work (soundcloud / bandcamp preferable to dropbox – it would be good to avoid downloading entire works at the proposal stage)
– detailed tech requirements including file format and whether playback (laptop etc.) can be provided for your work
– brief artist bio

CALL FOR CONTRIBUTIONS / APPEL DE PROPOSITIONS
eContact! 17.4
Analogue and Modular Synthesis: Resurgence and evolution /
Synthèse analogique et modulaire : résurgence et évolution
Guest Editor / Rédacteur invité : Richard Scott

[E] An idea emerging from Manchester’s 2014 Sines&Squares Festival, initiated by our Guest Editor, forms the core of the topics explored in this issue, with focus including modular synthesis in live performance, improvisation and fixed media, gender and synthesis, programming, patching and methodology.
http://econtact.ca/call.html

[F] Une idée émanant du festival Sines&Squares de Manchester (2014), dont notre directeur invité est l’initiateur, est au centre des thèmes abordés dans ce numéro qui s’intéressera particulièrement à la synthèse modulaire en performance, l’improvisation et les supports fixes, la synthèse et la différence entre les sexes, la programmation, le «patching» et la méthodologie.
http://econtact.ca/appel.html

The Centre for Music & Technology of the Sibelius Academy / University of the Arts Helsinki presents:

MuTeFest’15

November 16th – 23rd 2015

Black Box, Musiikkitalo * Vapaan Taiteen Tila
Tickets: 5€/concert * Festival pass 15€ * http://www.lippupalvelu.fi

Monday November 16th, 7pm, Black Box, Musiikkitalo
Three Dusks to Dark: Alejandro Olarte’s fourth doctoral concert
An interdisciplinary collaboration where music, dance and words intertwine. Performers: Alejandro Olarte, Jasmiina Sipilä, Outi Korhonen

https://www.facebook.com/events/1494302664199704/

https://www.musiikkitalo.fi/en/node/2422

Les Journées d’Informatique Musicale (JIM) réunissent chaque année pendant plusieurs jours, des chercheurs en Informatique Musicale, des scientifiques et différents acteurs de la vie musicale utilisant l’informatique comme moyen d’expression, comme aide à la composition ou comme outil pédagogique.

Cette édition est organisée par le GMEA – Centre National de Création Musicale d’Albi-Tarn, en collaboration avec le LaBRI – Laboratoire Bordelais de Recherche en Informatique et le SCRIME – Studio de Création et de Recherche en Informatique et Musiques Expérimentales.

L’édition 2016 des Journées d’Informatique Musicale se déroulera du 31 mars au 2 avril à Albi, en résonance avec le festival annuel du GMEA, les Journées électriques.

Thème de l’édition 2016

Au-delà des thèmes habituels qui sont reconduits, le thème mis en avant pour cette édition est celui de l’écriture du temps et de l’interactivité. Ce thème pourra être abordé du point de vue des modèles et des outils informatiques nécessaires à l’analyse, la notation ou l’exécution de cette écriture, comme du point de vue des problématiques liées à ses différentes représentations, qu’elles soient temporelles, logiques, spatiales ou bien liées aux instruments auxquels elle se destine.

Thèmes reconduits

Systèmes informatiques
• Systèmes et protocoles temps réel pour l’informatique musicale
• Logiciels libres pour l’analyse, la synthèse, le traitement des sons et la création musicale
• Nouvelles stratégies pour la sonification de données
• Algorithmes et interfaces pour la spatialisation sonore

Création assistée par ordinateur
• Environnements et langages d’aide à la composition musicale
• Orchestration assistée par ordinateur
• Systèmes pour la création musicale, de la microstructure à la macroforme
• Systèmes de composition et d’arrangement automatiques

Interprétation, arts performatifs et technologie
• Interfaces logicielles et matérielles pour l’interprétation et l’exécution musicale
• Dispositifs matériels et logiciels pour pièces interactives
• Modélisation et simulation de l’interprétation musicale
• Captation et extension numérique du geste instrumental
• Geste, virtuosité et nouveaux médias
• Nouvelles interfaces, nouveaux modes de jeu

Notation musicale
• Logiciels de reconnaissance optique de partitions
• Systèmes pour l’édition et la publication musicale
• Notation et visualisation de la musique
• Partitions interactives

Aspects historiques et préservation
• Histoire et aspects sociologiques de l’informatique musicale
• Définition/redéfinition du rôle du réalisateur en informatique musicale (RIM)
• Normalisation, archivage et transmission de l’information musicale
• Portage et recréation d’œuvres mixtes et interactives
• Préservation des œuvres utilisant les technologies numériques
• Rapports d’activités de centres de recherche musicale

Musicologie et ethnomusicologie computationnelles
• Formalisation et représentation des structures musicales
• Formalisation et modélisation des connaissances musicales
• Modélisation et simulation de la perception sonore et musicale
• Outils d’aide à l’analyse musicale
• Systèmes d’analyse et de traitement du signal acoustique
• Reconnaissance et extraction automatique des paramètres musicaux
• Modélisation des instruments de musique

Format de soumission

Les articles peuvent être écrits en français ou en anglais, pour un minimum de 4 pages et un maximum de 10 pages. Les communications donneront lieu à des conférences, des posters ou des démonstrations. Les articles doivent être soumis au format PDF. La mise en page doit être réalisée à partir des modèles Word ou Latex disponibles sur le site de la conférence.

Les travaux présentés pourront concerner :
– Un état de l’art
– Des avancées scientifiques et/ou techniques
– Des retours d’expérience / des rapports d’expérimentations
– Des exemples de mises en œuvre de ces technologies

Les articles sont à soumettre via la plateforme Easychair accessible depuis le site des JIM 2016 : https://easychair.org/conferences/?conf=jim2016

Dates importantes

– Date limite de soumission des articles : 10 janvier 2016
– Notification d’acceptation aux auteurs : 29 février 2016
– Dépôt versions définitives des articles : 14 mars 2016
– Dates de l’événement : 31 mars, 1 et 2 avril 2016

Les JIM sont pilotées par l’Association Française d’Informatique Musicale et sont soutenues par la Direction Générale de la Création Artistique du ministère français de la culture et de la communication.

National Student Electronic Music Event : Call for Works and Papers

March 25-26, 2016 at the University of Oklahoma
In its fifth year, the National Student Electronic Music Event solicits works for its annual conference in March 25-26 2016 at the University of Oklahoma in Norman OK.

Composers currently enrolled as graduate or undergraduate students in an accredited college or university are invited to submit works in the following categories:

1. Music
2. Papers

Submission deadline: December 16, 2015
Entry fee: none
Individuals may submit only one work in each category.
Keynote Speaker, Guest Artists, and Curated Concerts
Internationally award-winning composer Panayotis Kokoras will present the keynote lecture and a concert of his works. Acclaimed electroacoustic musicians Elizabeth McNutt and Andrew May will present a curated pre-conference concert on the evening of Thursday, March 24th.

1. Music

· Electroacoustic music for fixed media, with up to eight channels of sound.
· Works combining musical instruments, or voice with electronics.
· Video and multimedia works.

Works in progress will be considered if a substantial part of the work is complete. The accepted works cannot exceed the duration indicated at the time of submission, and the final version cannot be substantially different from the versions submitted.

For the selection process, multichannel works must be submitted as stereo mixes.

Works involving instrumentalists are welcome, but if the submitter is unable to provide the performer(s), we do not guarantee musicians will be provided, though we will attempt to secure performers on a limited scale. Works of any length may be submitted, but, for practical reasons, we will more likely be able to program works up to 12 minutes duration than longer ones.

2. Papers

We seek paper presentations on topics related to the field of electroacoustic music. Please submit an abstract for consideration. Paper presentations are limited to 20 minutes, including Q&A.

Submission Information

Please submit works and papers for consideration : Wednesday, December 16 at 11:59 P.M. Submissions after this time will not be considered. The conference web address is http://nseme.org/. Notifications of accepted works and papers will be sent by December 24th and posted online at: https://www.facebook.com/nseme2016.

Questions may be directed at contact@nseme.org

Full time. Permanent.

De Montfort University is a university of quality and distinctiveness, distinguished by our life-changing research, dynamic international partnerships, vibrant links with business and our commitment to excellence in learning, teaching and the student experience. The contribution of the Information Technology and Media Services (ITMS) directorate is essential in the delivery of the corporate strategy for the university to maintain the quality of its provision and its distinctiveness.

The university is continuing to make a significant investment in its IT and media services provision to ensure the delivery of a consistent, high quality IT and media services across the university. As part of this agenda, we are looking to recruit an experienced, enthusiastic and self-motivated Technical Instructor. While the key focus will be on the main duties and responsibilities, you will ensure that staff and students are at the heart of every service delivery.

As a dedicated Music & Audio Technical Instructor you will support our academics and students on software use, hardware and equipment specifications for music and audio based labs and studios. You will be required to deliver an effective multi-media support and technical advice service to students and have a sound specialist knowledge in music and audio.

More information: https://jobs.dmu.ac.uk/webrecruitment/Default.asp?Section=Vacancy&VacID=9447

• 3-year postdoc in digital musical instrument design and evaluation. Deadline 20 November; starts in January or as soon as possible thereafter.

Complete details here

The post is particularly focused on studying the interaction between performer and instrument in various musical contexts. The responsibilities of the role are to design and conduct studies with musical performers, and to work on a team creating new musical instruments which build on the existing skills of trained musicians.

The ideal candidate will have musical proficiency (any genre/instrument) at an intermediate level or higher, either through formal training or equivalent performing/composition experience plus experience in conducting studies with human participants (e.g. HCI user studies, evaluations of interactive systems, performance studies, psychology experiments, etc.) and working knowledge of audio signal representation and processing. The candidate should have a PhD, DMA or equivalent degree in one of the following: Computer Science, Electrical/Electronic Engineering, Psychology, or Music (performance/composition/musicology). Experience with motion capture systems, experimental design and/or statistical analysis of data is also welcome.

This post is part of the EPSRC project « Design for Virtuosity: Modelling and Supporting Expertise in Digital Musical Interaction », based in the Centre for Digital Music (C4DM) in the School of Electronic Engineering and Computer Science, Queen Mary University of London.

Please submit applications via the link above, or contact Andrew McPherson (a.mcpherson@qmul.ac.uk) with any informal queries.

• 4.5-year fixed term Lecturer [approximate UK equivalent to Assistant Professor] in digital signal processing and/or embedded hardware. Deadline 16 November; starts in January.

Complete details here

The School of Electronic Engineering and Computer Science is currently looking to recruit a Lecturer to provide teaching and ongoing research in the area of Digital Signal Processing and/or Embedded Hardware.

Applicants should have a PhD or equivalent professional experience and have a strong background through achievement in Electronic Engineering or Computer Science. They must be able to demonstrate the ability to teach up to a postgraduate level within the area of expertise, and across a range of subjects at a more introductory level, as well as demonstrate enthusiasm and commitment in the process of teaching.

The successful applicant should also have substantial experience in digital signal processing and microcontrollers / embedded hardware and must be able to teach in these areas. The ability to teach at least one of the following areas in addition would be an advantage: audio signal processing; image and video processing, human-computer interaction; new interfaces for musical expression, sensors and the Internet of things, circuits and systems.

Please submit applications via the link above, or contact Jane Reid (jane.reid@qmul.ac.uk) with any informal queries.

We are proud to announce that the tenth issue of the Journal of Sonic Studies (web site), a proceedings issue of the second international European Sound Studies Association Conference (2014), is online.

The main theme of the conference was « mapping the field » and focused on (research into) sound artworks, sound archives, sound designs, audio books, for methodologies of sound studies, for sonic histories, for studying various listening attitudes, for audio technologies, etc.

This issue of the Journal of Sonic Studies contains eight contributions that, taken together, should not only give an overview of the versatility of the conference, but also show the value and productivity of sound studies in general.

Journal contents:

Editorial: Mapping the Field – Marcel Cobussen
Sound and Immersion in Timekiller Games – Anahid Kassabian
From Particle Data to Particular Sounds: Reflections on The Affordances of Contemporary Sonification Practices – Thomas Bjørnsten
Ideologies of Sound: Longing for presence from the eighteenth century until today – Nicola Gess
Auditory filmic space as a sphere, the audiovisual chord, and passive synthesis in Submarino by Thomas Vinterberg – Martine Huvenne
The Sound of Stuff: Archetypical Sound in Product Sound Design – Anna Symanczyk
Where Are the Ears of the Machine? Towards a Sounding Micro-Temporal Object-Oriented Ontology – Morten Riis
Mapping Soundfields: A User’s Manual – Norie Neumark
Peirce and Sound Design Practice – Leo Murray

As part of Open Circuit 2016 the University of Liverpool is pleased to announce a call for electroacoustic works.

Works must have been composed after 2014 and should fall within one of the following categories:

1. Stereo acousmatic works with a duration up to 10 minutes.

2. Audiovisual compositions in which audio and video have the same artistic relevance with a duration of up to 10 minutes.

3. Works for trombone and fixed media and/or live electronics with a duration of 4 – 5 minutes.

Several works will be selected for performance during the festival (4th – 10th March 2016) and a special prize of £200 will be awarded for the most outstanding composition. A £50 Prize will also be awarded to the audiences most preferred work chosen on the night of the performance. We are extremely excited to announce that the selected works for Trombone and fixed media/live electronics will be performed by John Kenny, Professor at both the Guildhall School of Music and Drama and The Royal Scottish Academy of Music and Drama. Selected composers will be invited to present their work using the department of music’s sound diffusion system.

Selection will be anonymous and by a jury consisting of Matt Fairclough, Oliver Carman, Manuella Blackburn and John Kenny.

Please contact oliver.carman@liv.ac.uk to register your interest in the call. You will then be provided with a unique submission number and required to provide a download link to a .zip file titled with your unique submission number (example 001.zip).

• For category one the .zip file should contain the following:

1) a .doc file containing the following information; the title and duration of the work, a brief bio (200 words) and a programme note (200 words). This file should also be named with your unique submission number (example 001.doc)

2) an audio file of the work. This file should be named with the title of the work and your unique submission number (example Title of the Work_001.aiff)

• For category two the .zip file should contain the following:

1) a .doc file containing the following information; the title and duration of the work, a brief bio (200 words) and a programme note (200 words). This file should also be named with your unique submission number (example 001.doc)

2) a video file of the work. This file should be named with the title of the work and your unique submission number(example Title of the Work_001.aiff)

• For category three

1) a .doc file containing the following information; the title and duration of the work, a brief bio (200 words) and a programme note (200 words). This file should also be named with your unique submission number (example 001.doc)

2) a .pdf full score of the work including full details of any technical requirements. The composers name must not be visible on the score.

The closing date for submissions will be the 29th January 2016, results of the selection process will be published via the

Open Circuit website http://opencircuitfestival.co.uk in February 2016 and the winner of both prizes announced during Open Circuit. Selected composers are encouraged to attend the performance. Unfortunately we can not offer funding to support travel or accommodation.

Please, find below the rules and conditions of eleventh international composition competition « Città di Udine » (2015/2016).
Best regards

Si invia il bando di partecipazione dell’undicesima edizione del concorso internazionale di composizione « Città di Udine » (2015/2016).
La versione del bando in lingua italiana segue il testo in lingua inglese.

The University of York is a member of the Russell Group of research-intensive UK universities. The recent Research Excellence Framework (REF) confirmed the position of the University among the leading institutions in the UK for research. The proportion of research activity of world-leading, 4* status is among the highest of any UK university, and York is rated tenth out of 155 higher education institutions for the impact of its research.

The University’s Department of Theatre, Film and Television was founded in 2006, and moved into a superb, £30m purpose-designed facility in 2010. We are seeking to appoint two Associate Lecturers in Sound Production and Postproduction for film and television to start 4 January 2016. These posts are needed as cover for two members of staff and will be appointed as 9 month and 6 month fixed-term contracts respectively. You will be involved in the teaching of sound production and postproduction for film, television and possibly interactive media. Our undergraduate degree programmes include a BSc in Film and Television Production, a BSc in Interactive Media and a BA in Theatre: Writing, Directing and Performance as well as masters programmes in Digital Film and Television Production, Postproduction (with specialisations in Visual Effects or Sound Design) and Theatre.

You should have a PhD in a relevant subject or equivalent professional experience and have experience of teaching sound for film and/or television at HE level.

Informal inquiries to John Mateer, telephone 01904 325230; e-mail: john.mateer@york.ac.uk.

The post is available full-time, on a fixed-term basis (for 9 months and 6 months)

In celebration of Leeds College of Music’s 50th Anniversary IFAI presents iFIMPaC 2016

Thursday 10th March 2016
Klavikon (Leon Michener)
‘KLAVIKON reimagines ‘electronic’ music without the use of conventional processes – no loops, no laptops, no sequencers. Instead, pianist Leon Michener employs a unique system of amplified prepared piano. Augmenting the 88 keys with his own inventions and found objects – a custom made pick up, a robot dog- he delivers cascading batteries of percussion, sub-basses and abstract soundscapes. This amalgam of virtuosic technique and real-time analogue processing is at once connected with Classical traditions of Stockhausen and Cage and the experimental dancefloor idiom of Amon Tobin and Bochum Welt. The result is a fertile sonic territory, sincere in its eccentricity, restlessly inventive, that resists easy categorisation.’

http://www.nonclassical.co.uk/klavikon/

Friday 11th March 2016
Graham Massey’s Toolshed
‘Toolshed was originally a project from 10 years ago and was revived for Festival Number 6 and Liverpool Pcychadelic Festival 2015.’

‘Graham was a member of experimental jazz rock group Biting Tongues once signed to Factory Records. By 1988 he was a founding member of the British band, 808 State, formed in Manchester, England. Originally a hip-hop group called Hit Squad Manchester, 808 State shifted to an acid house sound, recording their debut album, Newbuild in 1988 under the new name 808 State.’

Tom Bugs
BugBrand is the umbrella for works by Tom Bugs. He has a small setup working out of Bristol, England. His website presents various electronic audio devices along with performances.
http://www.bugbrand.co.uk/

iFIMPaC call for submissions
Please read the full call and submit by following the link below:
http://bit.ly/iFIMPaC2016
The deadline for the submission of proposals is Monday, 16 November 2015.

Concerts de musique Electronique / Acousmatique / Mixte & Cinéma expérimental

L’édition 2015 sera dédiée à la création polonaise. L’intention est de faire découvrir le répertoire électronique polonais, encore peu connu en France, et de présenter le phénomène de la musique électronique polonaise dans son ensemble, depuis la musique du Studio Expérimental de la Radio Polonaise jusqu’aux plus intéressantes créations musicales contemporaines.

Les 6, 7 et 8 Novembre 2015
Vendredi 20h/23h30, samedi 20h/23h30, dimanche 14h30/20h
Les Voutes, 19 rue des Frigos 75013 Paris
Toutes les infos et programme

The Sound / Image colloquium is interested in exploring the relationships between sounds and images, and the images which sounds can construct by themselves.

Through a series of complementary strands – talks, screenings, loudspeaker orchestra concerts – we will bring together artists and experts to investigate sound and sound-image phenomena.

We are delighted to invite composer and theorist Michel Chion who will join us as special guest. There will also be Keynote talks from Jo Hyde and Mairead McClean.

PLEASE REGISTER HERE
VISIT FOR INFORMATION
FACEBOOK
TWITTER: #SoundImage15

Sound/ Image Colloquium – 7th / 8th November 2015
Stockwell Street, University of Greenwich, London

Saturday – Registration from 10am, Event from 11am – 8pm.
Sunday – Event from 11am – 6pm.

INTIME 2015 Symposium is this Weekend (24th/25th October) and there are still opportunities to register.

http://www.coventry.ac.uk/research/research-directories/research-events/2015/intime-2015/

This year includes the extraordinary, giant performance installation ‘Chorus’ by the artist Ray Lee, which is set up in the University Square and open to all comers.

Symposium Keynotes: Ray Lee and John Young.
Contributors to the Symposium include:
Elizabeth Cackett, Michele Del Prete, Neil O Connor, Tim Howle, Yiorgis Sakellariou, David Watt, Roberto Zanata, Neal Farwell, Karin de Fleyt, J. Harry Whalley, Christopher Jones, Kay Stephen, Anna Menzies, Richard Hoadley, Philip Mead, Katharine Norman, Kate Halsall, Ambrose Seddon, Beavan Flanagan, Michael Baldwin, Nicholas Peters, Annie Mahtani, Brian Connolly, Robert MacKay, Tom Williams, Juliana Janes-Yaffé, Huw McGregor, Michael Francis Duch, Dallas Simpson, Ben Potts, Agustin Castilla-Avila, Saif Bunni, Jim Dickinson.

Call for Participation
On behalf of the NIME 2016 Committee, we would like to invite you to be part of the 16th international conference on New Interfaces for Musical Expression.We invite submission of new works in the following categories:

Papers and Posters
Performances, Installations and Exhibitions
Demonstrations
Workshops and Unconference day activities

Important Dates
Submission: January 25, 2016
Review notification: March 28, 2016
Camera-ready paper/program note deadline: April 18, 2016
Theme and Process
The thematic focus of this year’s edition is Musician & Machine. Submissions that extend, stretch, or challenge the NIME topics and themes, are also welcome. Submissions should be made at the dedicated submission page, which will be advertised here in due course.

This year we are encouraging all submissions (including papers) to include a short video, that assists in demonstrating the research claims, performance aesthetic, quality of demonstration, etc. Papers, video or program notes from all accepted submissions will be published in the conference proceedings, under an ISSN/ISBN reference, and will be archived online after the conference to be tracked by citation tools.

All submissions will be subject to a peer review process by an international expert committee. Given the new focus on accompanying video documentation, the review process will be single-blind for all categories (this means the author’s identities will be known to the reviewers, but the reviewers will remain anonymous). A manuscript submitted for review cannot be already under review for publication elsewhere or be submitted for a second review elsewhere while under review for NIME 2016.

Call for Papers
We invite academic papers describing original research on new interfaces for musical expression. Papers should be up to 6 pages in length, formatted according to the provided paper template (available here soon). Authors are strongly encouraged to also submit a short video in support of their paper. Submissions must provide an original contribution to NIME research, appropriately cite prior related work, and demonstrate a rigorous research methodology.

There are two different paper presentation options:
Oral presentation
Poster presentation
Please indicate your preferred presentation option during the submission process. The program committee reserves the right to allocate accepted paper submissions into either category regardless of the indicated preference.

A best paper award will be presented to the individual(s) judged by the paper committee to have written the best paper appearing in the conference proceedings.

Call for Demonstrations
We welcome submissions of original instruments and technologies designed for use as new interfaces for musical expression.

Proposals should include a max 2 page description and short video presentation, which will appear in the conference proceedings, and a 1 page description of technical requirements for the demonstration.

A best demonstration award will be judged by the selection committee and presented to the individual(s) responsible at the conference.

Call for Performances and Installations
We invite submission of proposals for performances and installations. Novel and exploratory use of new interfaces is encouraged. Proposed performances and installations should have a clear connection with the substance of the NIME conference and may be connected to a poster or demo submission.

Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may exceptionally be taken into consideration.

Venues for installations are still being finalized. Please indicate space requirements and preferences and review chairs will take these into account when finalizing submission selection.

Along with general NIME concerts we particularly invite performance submissions for the following themed concerts:
Works that feature one or two Disklavier pianos
Live coding performances
New compositions for a Wurlitzer 260 theatre organ (http://theatreorgans.com/southerncross/Queensland/ModArt.htm)
We anticipate further details of specific performance and exhibition opportunities to be announced as they become available.

Proposals in this category should include a 1 page description, program notes, artist bios, and a 2-3 minute video preview, along with a 1 page description of technical requirements. The video preview will be used for the purposes of review and selection. Video documentation of all performances and installations will occur during the conference, where practicable, and be made available online following the conference.

Please keep in mind the following when preparing performance and installation submissions:
Advise whether performance would be better in club, bar or traditional concert environment, or other venue.
List any instrumental performers that would need to be provided by the organizers. Note that the conference organizers may not be able to accommodate your request. Please also note that the organizers cannot provide funding to support performers’ travel or accommodation at the conference.
Provide evidence of the feasibility of the performance. For example documentation and listings of past performances or related works that demonstrate the submitter’s capacity to implement the proposed performance.
Include the names of all participants/submitters, with a short bio for each (100 words).
Include the duration of the work. Typical NIME performance pieces last for 5-15 minutes, but shorter and longer performance proposals may exceptionally be taken into consideration.

Call for Workshops
We invite submissions for two categories of workshops.
NIME Workshops — targeted at the NIME community, and conference delegates
Unconference Workshops — relevant to a broader range of participants.
NIME Workshops: either half-day (3 hours) or full-day (6 hours). These can be targeted towards specialist techniques, platforms, hardware, software or pedagogical topics for the advancement of fellow NIME-ers and people with experience related to the topic. NIME Workshops will be held at the Queensland Conservatorium with facilities typical of a university music department.

Unconference Workshops: either short (1 hour) or long (3 hour) workshops targeted toward visitors to the NIME community, novices/newbies, interested student participants, people from other fields, and members of the public getting to know the potential of NIME. Unconference Workshops will be held at The Edge (http://edgeqld.org.au), State Library of Queensland – a digital media and makerspace that offers access to creative software, Mac lab, Recording Studio and a workshop space with facility for electronics (soldering) and fabrication.

Workshop proposals should clearly indicate the audience and assumed knowledge of their intended participants to help us market to the appropriate audience. Workshops can relate to, but are not limited to, the topics of the conference. This is a good opportunity to explore a specialized interest or interdisciplinary topic in depth with greater time for discourse, debate, and collaboration.

Review Process
Submissions will go through a rigorous review process. Overall, the review process comprises three layers of evaluation: reviewer, meta-reviewer, and track chairs.

The process is as follows:
Each submission is assigned to one meta-reviewer representative of a topic category.
The meta-reviewer together with the area chairs assigns the submission to reviewers for evaluation. Each submission has at least two reviewers.
The meta-reviewer moderates the area based on the reviewers’ comments and may add their own comments.
Area chairs collate reviews and moderation input. In discussion with the meta-reviewers he or she finalizes the decision for each submission.
Reviewers remain anonymous to the authors (single-blind).
Topics
In addition to submissions that address the specific theme (Musician & Machine) of this year’s edition of the conference, original contributions are encouraged in, but not limited to, the following topics:
Novel controllers, interfaces or instruments for musical expression
Augmented/hyper instruments
Novel technologies for collaborative performance
Theoretical or philosophical discussions about performing with new interfaces
Sensor, actuator technologies, haptic and force feedback devices
Explorations of the relationship between motion, gesture and music
Interfaces for musical expression for people with special needs
Musical applications of robotics
New performance paradigms for mobile music technologies
Musical mapping strategies
Embedded musical instruments and embedded sound art installations
Interactive sound art and installations
Musical human-computer interaction
Interface protocols and data formats
Performance rendering and generative algorithms
Machine learning in musical performance
Artistic, cultural, and social impact of NIME technology
User studies and evaluations of new interfaces for musical expression