SuperCollider Symposium 2010 [de Berlin]

2898576961_155144df22.jpgSuperCollider Symposium 2010 Call for Works / Performances / Installations :: September 23-26, 2010 :: venues in Berlin :: Deadline: April 26, 2010.

We are inviting proposals for works / installations in several categories for different venues. We are looking for a very broad spectrum of works, which may range from pieces for wave field synthesis, tape pieces, acoustic instruments with live electronics, live coding performances or laptop orchestra works, club performances, and sound or audiovisual installations.

The call is open to all composers, performers and artists regardless of nationality and age.

A prerequisite is the utilization of SuperCollider in your submitted work. We want to especially encourage collaborations between SC-users and professional non-SC artists (people involved in composition, dance, installation art, instrumental music, club music etc.). If you are a SC-user, consider applying together with someone you would like to develop a piece with/for.

We strongly encourage you to also enter papers or presentations about your work in addition to your artistic submission (see Papers / Presentations ). We may well be interested in having you speak about your work as well.

Please read the General Info for Calls first.

1. Compositions / Performances:
Shows will take place at several different venues, and you will be asked which of these venues you are applying for. Please consult these descriptions when preparing your application.

For pieces and performances the following options are available:

* tape pieces or laptop performances for the Wavefield Synthesis Concert at Technische Universität:
* up to 42 channels / moveable sound sources (positions can be controlled in real-time by OSC)
* some preparation time at TU Berlin as well as technical assistance will be made available
* please download and read the technical description of the WFS system !

* live electronic pieces / tape pieces with or without instruments at Kleiner Wasserspeicher:
* up to 8 loudspeakers
* the following instruments played by members of the Ensemble United Berlin are available: flute, trombone, guitar (also e-guitar), cello, violin, double bass, percussion, keyboard (also e-piano, but no grand piano)
* the number of instruments in a piece should not exceed 4 musicians

* live electronic pieces / tape pieces with or without solo instruments or improvisations or audio-visual performances at Ausland
* up to 4 loudspeakers
* the following solo instruments played by members of the Ensemble United Berlin are available: flute, trombone, guitar (also e-guitar), cello, violin, double bass, percussion, keyboard (also e-piano, but no grand piano)
* projection

* performances with or without visuals for the Club late-night concert (location t.b.a)
* stereo sound system
* projection

* laptop / network music concert (location t.b.a)
* no sound system, only networked laptops (conferences attendees will bring many). Expect a varying number of participants.
* you must prepare your software/piece so it can be quickly installed on a number of computers with different operating systems and SC versions. (We recommend standalones, or cross-platform single patches that run on plain vanilla current SC versions.) There will be minimal or no rehearsal time.
* the laptop owners will have varying degrees of expertise, so pieces could be for experts only, or even be accessible for beginners or lay people.

2. Sound and Audiovisual Installations
We are looking for installations. The venues / available spaces will be announced soon. As with compositions, we strongly encourage the collaboration between supercollider programmers and nonprogrammer installation artists.

* sound and audiovisual installations
* a detailed technical description is required:
* a detailed setup plan and conditions for the exhibition (required space, lighting, access to the internet etc. if applicable)
* equipment needed (including information what you can supply, and what we need to make available),
* estimated costs for materials.

3. How to Submit: Please submit one zipped file archive of less than 40MB including
* A text file (.rtf or .doc) with:
o A one paragraph description of your work.
o Title, duration and year or production (if applicable) of the work.
o A one paragraph biography.
* A list of requirements: musicians required, equipment, particular setup demands etc. (Please see the venue descriptions for what is possible).
* A stereo mix of your work in aiff, wav or mp3 format. You can submit excerpts, or the entire work, if the download limit allows.
* Relevant video excerpts, sketches and pictures should be submitted as mov, avi or gif, jpeg respectively.
* Scores (only as pdf) or code files which are relevant to the evaluation of your entry.

Submissions for sound installations must provide information on expected equipment / setup costs. If your files exceed the 40MB limit, please upload the files elsewhere, and include the links in your submission! More detailed uploading instructions will be posted on our site as soon as uploading is possible. Please prepare your entry so it can be evaluated in about 10 minutes in the first round of jury reviews.

All submissions will be evaluated by juries for each catogory and venue, consisting of at least an external curator, a venue representative, and one or more SC2010 organizers (i.e. SuperCollider experts). The jury may decide to change the category/preferred venue of a submission in the review process where appropriate.

4. Funding
For works and performances, we cannot pay any fees, travel expenses, or accomodation for submitting composers/performers, or any instrumentalists they bring in. If you require other instrumentalists than those mentioned we will look for local players, but we cannot guarantee finding them. We will pay royalties to the German performance rights organizations GEMA.

For installations, we can pay accomodation for some nights and a small fee. We can provide support to some extent for materials and transportation (within Germany). To allow for planning sound artists must provide clear information on equipment / expected costs for their works.

For more information:

Mar 28, 2010
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