The *Network Music Festival* will take place in January 2012 in Birmingham (UK) in the heart of Birmingham’s creative community. Presenting a diverse programme of laptop performances, live coding, communicating home-made musical gadgets, sound installations, workshops and everything else in between, the Network Musical Festival boasts an international line-up including some of Birmingham’s best home-grown hi-tech musical performers.We are looking for proposals for performances, talks, installations, demos and workshops. http://networkmusicfestival.org/open-call/

Network Music Festival aims to showcase a broad spectrum of musical and sound related works, research and participatory activities which use networking as part of their aesthetic, creation or performance practice. Network Music Festival would like to invite submissions in the categories of Performance (Concert or Club), Installation, Talks, Demos and Workshops.

We are also open to other suggestions, where you are free to submit proposals that fall outside of the above categories but that you feel would be an appropriate addition to the festival programme.

PERFORMANCES: Performances where networking in an integral part of the aesthetics or performance practice. This could include: Laptop Ensembles/Orchestras/Bands, Instrumental and Electronic groups; Performances which use the internet as part of the performance; any performance that use networking in some form.

Proposed performances should be 10-30 minutes in length.

INSTALLATIONS: Sound installations which use networking as central to the aesthetic and/or creation of the work. Could include static installations or installations which explore the surrounding area.

TALKS: We will be accepting submissions for informal talks, accompanied by slideshow presentations. Talk topics should be suitable for the general public.

DEMOS: The Network Music Festival will include an interactive hands-on session where festival attendees can try-out or see your hardware or software network music device/installation/toys/etc in action. The session will be in the form of a market-place. You will be provided with a small space with a table where you can set up your tech for attendees to look at and have a go.

WORKSHOPS: Participatory workshops which cover topics related to sound and networking. May focus on technological and/or artistic aspects. Please note this is a submission to LEAD a workshop. Please state the experience level required in order to take part in the workshop and the length of time and resources required in workshop description.

OTHER: If there’s anything that you would like to submit that you don’t feel is covered by the above categories but would be an appropriate addition to the festival programme, please submit a proposal with as much information as
possible.

DEADLINE FOR ALL SUBMISSIONS: 5 December, 2011. hhttp://networkmusicfestival.org/open-call/

AntiTesi in collaboration with the Superintendence for Cultural and Environmental Heritage of Trapani,, is announcing a Call for Proposals for Sound installations to present at Ex Stabilimento Florio delle Tonnare di Favignana e Formica in Favignana island.This call is connected to the Eighth edition of the Live!IXem festivals of music, sound and electronic arts .

The aim is to highlight the works of those artists who, involved in an experimental and creative exploration, use sound, integrating it with electronic audio-visual and digital design for Art installations in specific sites. Another aim is to witness the new aesthetic in contemporary art through a new way to conceive and carry out works within (or outside) of architectural spaces.

In this regard, the spaces that will host this could not be more appropriate: the former Florio Tuna factory on the island of Favignana in Sicily, the largest of the Mediterranean, which takes its name from a family of entrepreneurs that at the beginning of the twentieth century was the great protagonist in Sicily, the Belle Epoque. The ancient structure located in the largest of the Egadi islands, were obtained after the recent restoration of museum space, a conference room with 400 seats and a guest room.

To make this call even stronger there will be a collaboration between Live!iXem and OpenSound a platform that brings together seven European partners to create a project for cooperation and exchange that puts the sound in the middle of a series of outreach and artistic initiatives.

Open Sound is in fact a Grundtvig project for mobility and partnership in the training supported by the EU through the agency LLP - Life Long Learning Programme. Thanks to this partnership, Sicily will be the first venue where the festival will converge with some of the major representatives linked to the European art scene and musical sound research. During the festival, workshops will be conducted by some of the guest artists (the access to workshops is free of charge): this will contribute to become familiar with the locations of the former Florio Tuna factory on the island of Favignana.

SUBMISSIONS

We encourage proposals for site specific Sound Installations that will have to be set up in one of the locations of the Ex Stabilimento Florio della Tonnare di Favignana e Formica in Favignana Island Italy. Subscription and participation to the call are free of charge. It will be necessary to explore the locations through specific preparatory visits during Live!iXem Festival 2011, from 8 to 11 December 2011.

Suggested topics for presentations include, but are not limited to:

Best practices in Sound and architecture
Techniques used for Sound/Art Installation
Sound and environment/Sound ecology
Site specific
Software & network management
History & aesthetic theory of Sound Art/Installation
Teaching & pedagogical strategies
Hardware (audio, interface, computers, loudspeakers)
Software environments & frameworks
Artists/Composers’ perspectives on their own works

For more information and instructions for submissions, please refer to the website: http://www.ixem.it/live!ixem2011/callENG.html
, or download Call in PDF in english http://www.ixem.it/Call_Live!iXem2011_eng.pdf
Email contact: info@antitesi.org

The deadline for submission is February 26, 2012, but preliminary and preparatory visits will take place between December 8-11 2011.

–
domenico sciajno .:. www.sciajno.net
Details on the Live!iXem Call 2011, and how to submit here:
http://www.ixem.it/live!ixem2011/callENG.html
. on this downloadable PDF in english http://www.ixem.it/Call_Live!iXem2011_eng.pdf

The *Network Music Festival* will take place in January 2012 in Birmingham (UK) in the heart of Birmingham’s creative community. Presenting a diverse programme of laptop performances, live coding, communicating home-made musical gadgets, sound installations, workshops and everything else in between, the Network Musical Festival boasts an international line-up including some of Birmingham’s best home-grown hi-tech musical performers. We are looking for proposals for performances, talks, installations, demos and workshops.

Network Music Festival aims to showcase a broad spectrum of musical and sound related works, research and participatory activities which use networking as part of their aesthetic, creation or performance practice. Network Music Festival would like to invite submissions in the categories of Performance (Concert or Club), Installation, Talks, Demos and Workshops. We are also open to other suggestions, where you are free to submit proposals that fall outside of the above categories but that you feel would be an appropriate addition to the festival programme.

PERFORMANCES : Performances where networking in an integral part of the aesthetics or performance practice. This could include: Laptop Ensembles/Orchestras/Bands, Instrumental and Electronic groups; Performances which use the internet as part of the performance; any performance that uses networking in some form.

Proposed performances should be 10-30 minutes in length.

INSTALLATIONS : Sound installations which use networking as central to the aesthetic and/or creation of the work. Could include static installations or installations which explore the surrounding area.

TALKS : We will be accepting submissions for informal talks, accompanied by slideshow presentations. Talk topics should be suitable for the general public.

DEMOS : The Network Music Festival will include an interactive hands-on session where festival attendees can try-out or see your hardware or software network music device/installation/toys/etc in action.

The session will be in the form of a market-place. You will be provided with a small space with a table where you can set up your tech for attendees to look at and have a go.

WORKSHOPS : Participatory workshops which cover topics related to sound and networking. May focus on technological and/or artistic aspects. Please note this is a submission to LEAD a workshop.

Please state the experience level required in order to take part in the workshop and the length of time and resources required in workshop description.

OTHER : If there’s anything that you would like to submit that you don’t feel is covered by the above categories but would be an appropriate addition to the festival programme, please submit a proposal with as much information as possible.

DEADLINE FOR ALL SUBMISSIONS: 30th NOVEMBER 2011

http://networkmusicfestival.org/open-call/

4–6 PM Talks by Jana Winderen, Marina Rosenfeld, and Christopher Bergevin. Moderated by Micah Silver.
7–8 PM Sonic presentation by Jana Winderen
8–9 PM Diagram/for room and phonographic loudspeaker, sonic installation by Marina Rosenfeld
Curated by Ute Meta Bauer, ACT Director

October 22, 2011, marks the second anniversary of the passing of electroacoustic pioneer and CAVS fellow Maryanne Amacher. Intelligent Life is the title of an unrealized media opera that Amacher worked on for over a decade.

Maryanne Amacher was an American composer and installation artist whose pioneering work in acoustics and architectural installation paved the way to new forms of sound art and performance. In the 1970s, Amacher was a fellow at MIT’s Center for Advanced Visual Studies (ACT’s precursor) where she worked on her noted “City-Links” series.

For this year’s tribute, we have invited two outstanding sound artists: Jana Winderen and Marina Rosenfeld, as well as Columbia University Auditory biophysics/physiology scientist Christopher Bergevin. The evening will be moderated by ACT graduate candidate Micah Silver, who along with artist Robert The co-founded the Marianne Amacher Archive.

Micah Silver will feature a selection of archival video footage and rarely seen interviews with Amacher; Jana Winderen will present underwater sound recordings and frequencies that cannot be heard by the human ear; Marina Rosenfeld will talk about psychoacoustics, the way we experience sound through our body and our psyche; and from Chris Bergevin we will learn about otoacoustic emissions, the sounds produced by the ear.

The program will culminate the live performances by Jana Winderen and Marina Rosenefeld.

Kaleidoscope Music takes its inspiration from the idea of a kaleidoscope, a device that refocuses attention on our everyday surroundings, transforming them into something unexpected and beautiful. This real-time, computer-based sound installation manipulates ambient sound from around the Green Street subway stop, layering it and running it through a bank of filters to extract harmonic tones in an ever-changing array of chords and rhythmic patterns. The algorithmic nature of the piece ensures that it never repeats itself; rather it is designed to ebb and flow, evoking the rhythm of natural processes like rainfall and tides. The piece runs continuously, with no beginning or end; visitors are welcome to stay for as long as they like.

In addition to Kaleidoscope Music, the exhibition will feature digital prints from Ben’s series 29 Giraffes, algorithmic reconfigurations of neon lights from Shanghai’s famous East Nanjing Road.

Ben Houge is a recent transplant to Boston, where he has quickly become embedded in the local new media art community, with presentations of his work at the Boston Cyberarts Festival, MIT, Boston Post-Mortem, Opensound, Outpost 186, and Whitehaus Family Record. Prior to moving to Boston, Ben lived in Shanghai for six years, where he was active in the experimental sound and art community, performing and exhibiting widely. Previously, in Seattle, Ben founded the Sound Currents concert series and contributed to the award-winning Seattle School composers’ collective from its inception. Ben is a fifteen year veteran of the video game industry, where issues of real-time, non-linear structure, such as those explored in Kaleidoscope Music, are a matter of day to day business. Ben’s work is currently on display at the N Minutes Video Art Festival in Shanghai and e4c gallery in Seattle. In August he premiered a new sound piece at the San Diego Museum of Art. Ben currently teaches video game music at the Berklee College of Music and Boston University Center for Digital Imaging Arts, and this fall he is an Artist in Residence at MIT, working on sonification of real-time sensor data.

Internet Topography 2011 by art of failure.

In Internet Topography, 50Hz audio signals are sent from the exhibition space to Tokyo, then returned within the installation space where we can listen to it. The transmission errors that occur during these streamings are analyzed and then considered as a potential and incomplete layout of the network topography. Similar to a landscape, this digital topography proves to be an unstable organization of patterns, shapes and outlines opening the way to multiple mental representations. This imaginary scope is made perceptible trough an immersive sound and light installation.

The Black Mountain College Museum + Arts Center in partnership with UNC Asheville and the John Cage Trust is pleased to announce ReVIEWING Black Mountain College 3 to be held October 7 – 9, 2011, a weekend gathering of scholars, performers and artists coming to Asheville to present ideas and perform works related to avant-garde composer John Cage. The program for the weekend will include music, performances, installations, exhibitions, films and scholarly presentations, all touching on some aspect of Cage’s life, work and genius…his Circle of Influence.

The keynote address will be given on Saturday, Oct. 8, 2011 from 5:00 - 6:00 p.m by Laura Kuhn, the Executive Director of the John Cage Trust. Ms. Kuhn worked directly with John Cage from 1986-1992 on a variety of large-scale projects, including his Europeras 1 & 2 for the Frankfurt Opera. Projects under her direction include a CD-ROM of sampled piano preparations from Cage’s Sonatas & Interludes (1946–48) and The John Cage Book of Days, a yearly pocket calendar filled with historically important dates, pithy quotations, and unique images drawn from the archives of the John Cage Trust. She created and directed James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, a theatrical realization of Cage’s radio play (2001). Kuhn is the John Cage Professor of Performance Arts at Bard College, where the John Cage Trust is headquartered.

John Cage (1912-1992) was a man of many interests: music, mushrooms, Zen Buddhism and Eastern Philosophy, visual art and dance. He pioneered the practice of ‘preparing’ the piano by inserting objects into the strings, thereby altering the sound of the instrument in radical ways. He worked collaboratively for many years with choreographer/dancer Merce Cunningham and with fellow musician David Tudor (both of whom were also at Black Mountain College). Cage’s most famous (and infamous) composition is 4′33′, first performed by David Tudor in August of 1952. The piece lasts for precisely 4 minutes and 33 seconds during which time the pianist sits at the piano, consults a stopwatch and turns the pages of a score, but never strikes a note on the piano. This courageously conceptual work confused and outraged audiences and established Cage as an iconoclast and radical thinker. Cage taught at BMC in the summers of 1948 and 1952 and was in residence the summer of 1953. While there in 1952, he staged the first ‘Happening’ in the United States, a multi-layered performative event that changed modern theater.

John Cage’s influence in multiple fields is a reason for his enduring legacy and contemporary relevance. As a musician, composer, philosopher and visual artist Cage’s work continues to inspire others. ReVIEWING Black Mountain College 3 will celebrate this enormously far-reaching influence through a mix of performances and presentations that address the many aspects of this visionary artist and thinker.

The schedule includes presentations by an impressive roster of participants, including some who worked with John Cage on visual art or music-related projects such as Ray Kass (worked with Cage at the Mountain Lake Workshop), Janos Négyesy (premiered Cage’s Freeman Etudes in 1981), (Beverly Plummer who made ‘edible paper’ with Cage)and others who are scholars or musicologists and have published books about Cage (David Patterson, editor of John Cage Music, Philosophy, and Intention, 1933-1950).

Schedule:

Activities will commence on Thursday night, Oct. 6th when the Mobile Art Lab Easel Rider projects imagery onto the BB&T building. Then, from noon to 1:30 on Friday, Oct. 7th a 90-minute MusiCircus will take place all over town. This random and unscripted series of musical performances will spontaneously ebb and flow in an unpredictable way. At 3:00 p.m. author and independent scholar Mary Emma Harris will give a talk entitled Eden Re-imagined: John Cage & Black Mountain College, 1948-54 followed by Beverly Plummer’s presentation Choice, Chance and Anarchy: Making Edible Paper with John Cage. Friday evening from 6:00 - 8:00 p.m. activities will shift over to the Black Mountain College Museum + Arts Center for the opening reception for the exhibition John Cage: A Circle of Influences and then over to the Grey Eagle for Roedelius w/XAMBUCA. Hans-JoachimRoedelius is one of the pioneers of electronic music, synthesis and sound exploration.

Saturday morning’s presentations and performances will begin at 9:00 a.m. and continue until midnight, all at UNC Asheville. The keynote address, delivered by Laura Kuhn, Executive director of the John Cage Trust will take place from 5:00 - 6:00 p.m. Saturday afternoon, followed by a reception. Saturday evening at 8:00 p.m. a set of three performances is scheduled to take place in Lipinsky Auditorium. This promises to be a highlight of ReVIEWING Black Mountain College 3 as the three performers are extremely accomplished. Louis Goldstein, Professor of Music at Wake Forest University and co-founder of the California New Music Ensemble will perform ASLSP INTERPENETRATED. Then, celebrated German pianist Jens Barnieck will perform The Age of Cage, a set of compositions by Cage, Yvar Mikashoff and Tui St. George Tucker. Saturday evening will close with Hungarian violinist Janos Négyesy performing one of Cage’s most difficult compositions, The Freeman Etudes.

Sunday morning’s activiites will commence at 9:00 a.m. with another round of presentations and performances including Matthew Burtner’s presentation Agents Against Agency: Environmental Activist Music and the Legacy of John Cage, film by Robbie Land and poetry by Joseph Bathanti. After lunch, a tour of the Lake Eden campus of Black Mountain College will be offered along with a Mushroom Walk.

In conjunction with ReVIEWING Black Mountain College 3, the Black Mountain College Museum + Arts Center will present an exhibition of Cage’s artwork called John Cage: A Circle of Influences. This exhibition explores multiple aspects of Cage’s work from his important time at Black Mountain College to his later collaborative projects including the Mountain Lake Workshop in Virginia. The exhibition will open on Sept 30th with an opening reception planned for Friday, Oct. 7, 6:00-8:00 p.m.

The Black Mountain College Museum & Arts Center preserves and continues the unique legacy of educational and artistic innovation of Black Mountain College for public study and enjoyment. We achieve our mission through collection, conservation, and educational activities including exhibitions, publications, and public programs.

IRZU – Institute for Sonic Arts Research, is announcing the third edition of: EarZoom – Sonic Arts Festival, which will take place between 30th September and 4th October 2011 at different venues in Ljubljana, Slovenia.

The main aim of the festival is to present a set of carefully selected works of multi-profile individuals (artists/scientists) and thus promote the interdisciplinary field of electronic music – the myriad of possibilities it has to offer – to artists and scientists (engineers) within our local community. EarZoom 2011 features not only performances, exhibitions and installations by established international artists, but also workshops and lectures on a wide selection of different sub-topics of electronic music, ranging from mobile music computing, aco-acoustics, interactive installations, to hardware hacking.

In the framework of this year’s EarZoom sonic arts festival we are introducing a slightly different approach to the artistic program selection, aiming at widening the festival’s thematic spectrum. Within the Sounds of Europe project, we are shifting the focus from an exclusively technologically inspired concept of sonic arts towards a somewhat wider, socio-political context of contemporary arts, within which we are questioning the expressive potential of sound based practices.

Artists: Nicolas Collins, Ake Parmerud, Alexandre Torres Porres, Roger Dannenberg, Pietro Polotti, Mauricio Valdes san Emeterio, Chriss Kiefer, William Brent, Eduardo Miranda, Jure Gradišnik Mathew Burtner, Pierre Alexandre Tremblay, Atau Tanaka, Adam Parkinson, Hans Tammen, Tae Hong Park, Igor Vićentić, Philippe Pasqieur, Jaime Bullock, Tomaž Grom, Vasja Progar, Aino Emilia Korvensyrjä, Jan Anderzen, Ana Hoffner, Johannes Kreidler, Elske Rosenfeld, Jovita Pristovšek, Nika Autor, Kim Myhr, Mathias Forge, Olivier Toulemonde.

Venues: Kino Šiška, Cankarjev dom, Menza pri Koritu, Kinoteka, ŠKUC, Aksioma, Moderna galerija, Ljudmila, Galerija na Gregorčičevi 3

Co-producers: Aksioma, SPLOH, Cankarjev dom, BOKS, Q-O2, CRiSAP, MTG

For more infos on EarZoom 2011 see:

http://www.irzu.org/EarZoom_2011_Program.pdf
http://www.irzu.org/EarZoom_2011_Exhibition.pd

or:

www.irzu.org