Radio artworks and articles are expected to show evidence of critical thinking and engagement with contemporary and historical radio art practices and theory, addressing a range of questions and topics such as the use of radio to mediate human relationships, the acoustic representation and transmission of affect, the sense of community and belonging via the radiophonic experience, among others.

Please send your submissions to: info[at]radiauteur.com :: Format: mp3 :: If the files to be submitted are bigger than 12 MB please upload them via cloud computing and send a link for download. :: Works can also be posted to:
F.A.O. Ray Ganz
Centre for Cultural Studies
Goldsmiths, University of London
New Cross
London SE14 6NWUK

Call for submissions: http://www.radiauteur.com/?page_id=2807

Call for new commissions: Pixel Palace is commissioning four new audio works for BASIC.fm. Each work will be hosted for a month on continuous play and the first commission will go live in November. They are seeking artists who use sound as a medium in unexpected, exciting and innovative ways. This may include work that may act in a similar way to hold music or radio and television test signals. There is a one-off artist fee of £250 for each commissioned piece.

This call is open to all artists, musicians, field recordists and sonic artists regardless of nationality, age, or career stage.
Commission proposals must include:
- Title and description of proposed audio work for BASIC.fm (100 words maximum)
- Examples of past work (please provide links to work as large email large media files cannot be accepted)
- CV and contact information
How to apply
Please email commission proposals to Dominic Smith, Digital Media Projects Manager at the Tyneside Cinema:
info(at)thepixelpalace.org

The deadline for commission proposals is 10 October 2011 at 5pm. Artists will be notified via email regarding the result of their proposal.

Listen to an interview with Burt on RWM - Radio Web Macba #132.

04.08.2011 (16′ 08”)

Although the commission money has been exhausted, Slocum is still accepting submissions. If you are interested in participating, read the PDF document on the website. Your footage will be added to the video sequence online and exhibited in future gallery exhibitions.

About the Process: In an email he wrote to Helen Thorington (January 11), Slocum describes the difficulties he had finding participants for the project:

Originally I was posting on Internet message boards for Full House, fan film making, and other related topics offering $80 for each completed video, hoping I could get about 18 videos. But nobody was taking the offer so I increased it to $150 and accepted that I had to reduce the number of videos. I ended up having the best results with Craigslist. You can’t post an ad to multiple cities, so I rotated the ad between different locations.

I gradually built a list of people willing to participate, which was complicated to maintain since people frequently expressed interest and later stopped responding to my emails. Most participants did not meet the deadlines I set. I received the first video in early November, and the last three in early January, less than a week before the launch date.

He then goes on to describe the formal challenges he faced:

Originally, I’d wanted the voicing of the dialogue to be so close to the original that it would maintain the hypnotic rhythm of the mockup loop I had created. I specified this in the documentation, but nobody could do it well enough, and the sound from the reshoots didn’t maintain the rhythm of the original concept. I was concerned that the piece wouldn’t work until I had the idea of overlaying the original audio onto the reshoot audio. This maintained the rhythm and emphasized the room reverb (and space) from the reshoots.

I found that the key to making the piece work out was subtle changes. Very slight timing changes made a big difference, equalization of audio, selection between two slightly different takes… Also some of the reshoots did not work aesthetically, but after a lot of experimenting I found that changes in color saturation of the clips could fix problems without changing much about the original authorship of the reshoot. I could bring out colors in dull clips, and control overly complex clips. I also discovered that the transition from under-saturated clips to over-saturated clips can be interesting.

You’re Not My Father is included in Slocum’s solo show “More House” which opens tonight at Dunn and Brown Contemporary, 5020 Tracy Street, Dallas, Texas.

You’re Not My Father is a 2007 commission of New Radio and Performing Arts, Inc. for Networked_Music_Review. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.

BIOGRAPHY

Paul Slocum is a musician and new media artist living in Dallas. Computers and computer culture are often the medium and subject of his work. Some of his projects are “The Dot Matrix Synth”, an 80’s dot matrix printer with re-programmed firmware to transform it into a musical instrument, “The Century Callback Project”, a phone number that calls you back 8 times in a century, and “The Time-Lapse Homepage”, a video made with HTML. He is also half of the “Tree Wave” project that creates music and video with obsolete assembly-language-programmed computer and video game gear. Paul is the director and co-founder of “And/Or Gallery” in Dallas, a gallery that specializes in new media artwork. Some of Paul’s performances and exhibitions include Transitio MX in Mexico City, The New Museum of Contemporary Art, Deitch Projects, and Eyebeam in New York, Le Confort Moderne in France, README 2005 in Denmark, and The Liverpool Biennial.

Nancy Garcia’s interdisciplinary practice incorporates choreography, music/sound, video, performance, image making, and new media. Often slinging the viewer to the edges of performative events, Garcia draws attention to the exultant body, considering it as a site as well as a vehicle for sound and movement. For her first solo exhibition in Miami, Garcia shows a new body of work incorporating photography, a new video entitled Power Trio, and a concept audio compilation, Lover’s Alarm Clock, for which she asked artist friends to “create a sound you want your lover/s to wake up to.” Each track will be downloadable and sharable as a smartphone ringtone at www.loversalarmclock.com, and be available for listening in the gallery.

To coincide with O, Miami Poetry Festival, Garcia is creating an audio walk, an experiential sound journey guiding listeners through a select Miami location. The audio file will be playable on most smartphones and portable media players, and will be available along with a walking guide at www.omiami.org, www.basfisherinvitational.com and www.nancygarcia.org on April 15.

Nancy Garcia was born and raised in Miami, and has been based in New York since 2000. Her work has been shown at the Sculpture Center, Long Island City; Whitney Museum of American Art, NY; Roulette, NY; D’Amelio Terras Gallery, NY; De La Cruz Collection Project Room, Miami; New Langton Arts Center, San Franscico; Greene Naftali Gallery, New York; Movement Research at Judson Church. She has also been featured in festivals such as Images, Toronto; All Tomorrow’s Parties, United Kingdom; and No Fun Fest, New York. As a musician she has performed in the US and abroad with noise band Monotract, toured as a solo performer, collaborated with various artists including Thurston Moore, and released a solo album entitled “Be the Climb” on the Ecstatic Peace record label. In 2009 Garcia produced an epic interdisciplinary performance combining online video, and music from her album with choreography for the proscenium stage, commissioned by the Kitchen, NY. She holds a a Master’s degree from the Interactive Telecommunications program within New York University’s Tisch School of the Arts.

Francesco Giannico & Roberto Fega present “Daily Memories | Sounds of Memory“. The project was born from the need to create a living-performance based on sounds,videos, photos, drawings, texts that have to do with a daily past forgotten even by a few minutes. We ask you to donate to this project a part of your past or recent memory.

All donated material that you submit will be processed in real time during a live national premiere to be held in Rome between 2 months and you will be clearly informed, as project’s makers.

Please see below our guidelines for sending materials ::

- Use the Sendspace.com online storage service that allows you to upload up to 300 mb at a time without having to register.
You need only enter in the “recipient” of the mail respectively Francesco Giannico (mark_hamn@yahoo.it) and Roberto Fega (robertofega@gmail.com) and wait the end of uploading.

After this step send an email (same address) with a text file containing the data of the person who kindly sent the material and a brief description. (The data are important because they allow us later to thank those who worked through the credits, through web page, press releases, etc …)

Live Final
In mid-March will be announced the location and date of the live Daily Memories to be held in Rome.

We hope for your participation

Francesco Giannico & Roberto Fega
http://anowhereplace.altervista.org http://www.myspace.com/fegaroberto

“An Unreal soundscape”

Our idea is connected ideally with the concept of soundscape in order to create an audio track where sound elements could be recognizable but our intent is not strictly correlated to the “scientific” idea of soundscape. You can easily verify there’s not a real place identified by our future recordings becouse every recording will have its own daily past, and its own memory and particular context. Following our idea at the end we will obtain “a nowhere place” an inexisting place with no time but full of meaning at the same time. We want to believe that it may be a kind of an ideal simulation of soundscape. Please consider the artistic intent of the idea. Thank you.

And this time we have a special contest: the most beautiful, terrifying, annoying or desperate scream video will be awarded. Amazing prizes and world fame are waiting for you!

Find all information on Art’s Birthday here http://kunstradio.at/PROJECTS/AB2011 or here
http://viralradio.at or here http://artsbirthday.ebu.ch or simply here
http://www.artsbirthday.net.

Best wishes for the upcoming Year of the Radio Art Rabbit!

2. January 2011: “Experience the glory of art in 40 minutes: license for lunatic balderdash” by UBERMORGEN.COM

UBERMORGEN.COM, a group of net.artists and media hackers based in Vienna and the World Wide Web, present a radiophonic mockery of contemporary art criticism and discourse, by revealing the emptiness behind words - without sparing themselves from this analytical joyride heading for the apocalypse.

9. January 2011: “Vapor Trails of Europe” by alien productions

Kunstradio’s contribution to the EBU Ars Acustica Euroradio Concert Series is a live radio performance by the artists group alien productions, recorded on 7th December 2010, at the ORF Funkhaus Vienna: condensates of European acoustic culture are transported into the orbit with the art satellite mur.sat.

16. January 2011: Art’s Birthday 2011 - Warm-up

Robert Filliou declared 17th January to be the Birthday of Art and suggested that artists celebrate this day in a Fete Permanente, creating an Eternal Network. On the eve of Art’s 1,000.048th Birthday, we take you on a warm up trip to worldwide partys and performances, listening to early birds’ chants and midnight serenades.

17. January 2011: Art’s Birthday 2011: “Viral Radio” - Live from the ORF Funkhaus, Vienna, Austria
on line: www.kunstradio.at, www.viralradio.at
on site: ORF Funkhaus, Argentinierstrasse 30a, 1040 Vienna, Austria (No admission, starts at 20.00 CET).
on air: 23.03-01.00 CET on OE1.

Robert Filliou’s concept of the Eternal Network suggests a virtually self-perpetuating system generating art and ideas around the globe. In 2011, Kunstradio celebrates Art’s Birthday with a performance project referring to this thought: “Viral Radio” plays with mechanisms of viral diffusion, which have evolved with the rise of social platforms such as youtube or Facebook and which have been adopted by whizz salesmen for marketing purposes. However, it is certainly not a product we intend to spread, but: Art. And we
don’t even charge for it.

Brigitte Wilfing, a performer and choreographer, and Jorge Sánchez-Chiong, a composer and turntablist, have developed the project “Viral Radio” and present a range of activities and interactivities to celebrate the birthday of Art in its 1.000.048th recurrence according to Filliou’s feisty Fluxus calendar. Highlights of the evening include an interactive radio installation on site and on air, a performance lecture by Brigitte Wilfing, concerts by Kid 606, Pure, Martin Siewert, Ernesto Molinari, Thomas Wagensommerer, Magdalena Chowaniec, Peter Kozek, Jan Deck, Anne Grabs and others, and a screaming contest - whoever is angry, scared or just wants to break the silence: please contribute your loudest screams online at http://viralradio.at and become part of the party!

Viral Radio is a cooperation with subnet - platform for media art and culture, and the university project NeWAiR.

23. January 2011: Art’s Birthday 2011: Revue 1

30. January 2010: Art’s Birthday 2011: Revue 2

And all the best for 2011!

Kunstradio - Radiokunst
http://kunstradio.at
Argentinierstr. 30a
A - 1040 Wien

Since 2005, the Experimental Media and Performing Arts Center (EMPAC) has established a vibrant residency program that has hosted over 40 artists and their collaborators, spanning theater, dance, music, video, and installation. While EMPAC will continue its open call residency program, EMPAC is pleased to announce four additional focused initiatives:

Audio Production / Post‐Production

For sound recording, development of multichannel sound works, documentation, mastering, mixing, film scoring, or any other task involving microphones, speakers, consoles and computers.

Creative Research

Provides artists, writers, and theorists with the opportunity to conduct research over extended periods of time (minimum six weeks).

Dance / Theater

To rehearse, workshop or finalize a production. Provides a group of up to six individuals a two‐week rehearsal period in a 3,300 sq. ft. black box space with full production support.

Video Production / Post‐Production

For multiple camera shoots, documentation of a performance, development of multichannel video projection, digital video post‐production, or any project involving HD video cameras, computers, and projectors.

EMPAC’s unique facilities offer four major venues including a Concert Hall, Theater, and two black box Studios, in addition to artists in residence studios, and a state of the art infrastructure.

To apply, please include a letter of intent, a project description, a resume or CV for all major collaborators, as well as works, samples, and other supporting materials. Proposals are reviewed by EMPAC curators four times a year. Upcoming reviews will take place on October 15, January 14, April 15, and July 15. In general, residencies are scheduled six months to one year in advance.

For more information, please visit: http://www.empac.rpi.edu/residencies/artist/
empac.rpi.edu/residencies/artist/

About EMPAC:

EMPAC is an international hub for art, performance, science, and technology, founded by Rensselaer Polytechnic Institute. EMPAC offers adventurous interdisciplinary public events, support for artists and scholars engaged in creative research, and the resources of a state-of-the art facility for digital media production, research, and performance situated on a college campus.

EMPAC’s building is a showcase work of architecture that spans the physical and digital worlds. With a 1,200-seat concert hall, a 400-seat theater, two flexible black box studios, audio and video production rooms, and residency studios, EMPAC is a unique environment where digital technology and human experience can meet.

EMPAC 2010-2011 presentations, residencies, and commissions are supported by grants from the National Endowment for the Arts, the National Dance Project of the New England Foundation for the Arts (with lead funding from the Doris Duke Charitable Foundation; additional funding from the Andrew W. Mellon Foundation, the Community Connections Fund of the MetLife Foundation, and the Boeing Company Charitable Trust), and the New York State Council for the Arts. Special thanks to the Jaffe Fund for Experimental Media and Performing Arts for support of artist commissions.

The organization offers three residency programs, to which artists and teams may apply for only one per year (click on each program for its full application guidelines): The Writers Program, through which participants gain professional training in voice and microphone technique, performance and delivery, and studio interviewing, and create new work to be presented through live readings, recorded interviews, a published anthology, and as podcasts on Jack Straw’s website; The Artist Support Program, which provides free or low-cost recording and production time with an engineer at Jack Straw Productions to complete projects (such as music CDs, radio programs, oral histories, audio literature, sound for a gallery installation or public art project, etc.) to be presented at a public event at Jack Straw; and The New Media Gallery Program, which enables artists to experiment with audio and develop new skills and ideas as they create a sound component for an installation at Jack Straw’s New Media Gallery for the following year.

You are invited to attend “Chicago Equinix,” when 60 Hz audio noise will travel 792 miles. “Chicago Equinix” is part of the Fifth Annual Chicago Calling Arts Festival and Chicago Artists Month.

New York based artist Eric Laska will create and send the sound of a 60 Hz ground hum from his New York studio to Chicago, a distance of roughly 792 miles. The 60 Hz hum is an instantly familiar sound to musicians and to almost anyone who has dealt with audio electronics in the past 100 years. While often being an annoying and frustrating sound for many, it has rarely been explored as a sound worthy of merit. Eric Laska seeks to elevate the self-esteem of this “noise” by sending it on a journey from New York to Chicago, and taking the time to ensure proper equalization and spatialization of the sound so the listener can experience the fullness and richness of what most people immediately try to eliminate or ignore. Deep listeners take note: digital artifacts, warm tubes, local interference, phase accidents. A global take on a profoundly local phenomenon.

Eric Laska is a New York based artist working in the realms of sound and digital media. He is co-founder of the electroacoustic rar record label with Reed Rosenberg as well as a mainstay of the internet collective Double Happiness. He has engineering credits for The Depreciation Guild album In Her Gentle Jaws.

Soapbox Music is an arts incubator for independent musicians in Chicago, operated by musicians Farsheed Hamidi-Toosi and Brendan Finucane. They provide affordable rehearsal and recording facilities, regular workshops, events, and residency opportunities for independent musicians in the Chicago area.

Fifth Annual Chicago Calling Arts Festival: Chicago Calling is a multi-arts collaboration festival. During the Fifth Annual Chicago Calling Arts Festival, people in Chicago work with people outside of Chicago — both here in the U.S. and abroad. These collaborations include a range of art forms, such as music, dance, film, literature, and intermedia — and they are prepared or improvised. Some Chicago Calling events involve live feeds between Chicago and other locations. 2010 Chicago Calling events include “Bicycles and the Arts” at Happy Dog Gallery, “Translations 2010” at the Reconstruction Room, “Seda Röder / Burton Greene - Harrison Bankhead Duo Concert” at Curtiss Hall in the Fine Arts Building, “Temperatures and Shapes / Arctic Live” at Elastic Sound & Vision Gallery, “I Remember Fred” at the Velvet Lounge, “Chicago Calling, Waiting for the Bus” at Café Ballou, “Aural Architecture” at WNUR, “Two Way Tarot Mirrors” at Myopic Books, “Facets of Southeast Asia” at the Zhou B. Art Center, “Chicago Equinix” at Soapbox Music, “The City as Studio / Curatorial Practice” at the Phantom Gallery Chicago Network Office, and “My Favorite Banned Books Abecedarian Read-Out” at the Logan Square Library.

Borderbend Arts Collective: Chicago Calling is organized by the Borderbend Arts Collective, a 501(c)(3) organization whose mission is to promote the arts by to creating opportunities for artists to explore the aesthetic geography along the borders and boundaries between art forms. Poetry, music, performance, and the visual arts are no longer discreet modes: hybrid forms, and interarts collaborations proliferate in global arenas.

Borderbend events encourage artists to use innovative aesthetic technologies and create strategies to engage and collaborate with artists from divergent communities in Chicago and the world. Multi-venue performances of music, poetry and visual arts exhibitions and interdisciplinary festivals reach beyond immediate cultural and aesthetic neighborhoods to cross borders and boundaries among participants, audiences and art forms.

Annual Borderbend projects include Chicago Calling and the Mingus Awareness Project. Other organizations partner with Borderbend to enrich and extend the reach of its project, such as the Experimental Piano Series, which is co-produced by the Chicago Composers Forum and Borderbend, in partnership with the PianoForte Foundation.