AIRtime Fellowship Program Details Announced

APPLICATION DEADLINE: JULY 1, 2009

The AIRtime program provides artists (individuals and/or collectives) with valuable assistance with which to concentrate on new transmission works and conduct research about the genre using free103point9's resource library and equipment holdings. AIRtime Fellowships are awarded to approximately three artists each year. Fellows present their work in conjunction with WGXC, in Greene and Columbia Counties, and our city-based programs at the Ontological Theater at St. Mark's Church in Manhattan. Fellows receive an honorarium, and technical and administrative support from free103point9 staff. Participating artists are encouraged to archive recordings and other digital media with the free103point9 Transmission Art Archive project.

free103point9 defines “Transmission Arts” as a conceptual umbrella that unites a community of artists and audiences interested in transmission ideas and tools. This genre encompasses a diversity of practices and media working with the idea of transmission or the physical properties of the electromagnetic spectrum. Transmission art is generally a participatory live-art or time-based art, and often manifests as radio art, video art, light sculpture, installation, and performance.

OPEN CALL: 60x60 Project

The following is the Call for Works for the 60x60 project in 2008. Continuing to promote contemporary composer and their works, Vox Novus is inviting composers to submit recorded works 60 seconds or less in length to included in its sixth annual 60x60 project. 60 compositions will be selected to be played continuously in a one-hour concert. The 60x60 concert season will begin with a debut in New York City and continue throughout the world in venues to be announced. Please submit recording(s) of work and submission form post marked before March 31st, 2008 to:
60x60
c/o Robert Voisey, Radio City Station, P.O. Box 1607, New York, New York, 10101 USA
More information can be found at: http://www.voxnovus.com/60x60/Call.htm and http://www.voxnovus.com/60x60.htm

OPEN CALL: Bent 2008

The Tank is currently accepting proposals for Bent 2008: The Fifth Annual Circuit Bending Festival
New York Bent Festival - April 17th-19th, 2008.
Los Angeles Bent Festival - April 24th-26th, 2008.
Minneapolis Bent Festival - May 1st-3rd, 2008.

Proposals:
Proposal Deadline: February 5th, 2008
Participant Notification: February 15, 2008
This call is for all three festivals. Proposals to each festival must be submitted separately. In keeping with the expanding interests of the community, this year we are continuing to open the Bent Festival to performers and artists that create their own electronics as well as to those who hack, bend, modify and destroy them. We are currently seeking performers and artists to participate at each of the above locations and are specifically looking for submissions in these categories:
Performers, Installation Artists, Artwork Submissions and Workshop Instructors. Please send all proposals and questions to the appropriate email address:
Minneapolis Bent Festival - bentmpls@thetanknyc .org
New York Bent Festival - bentnyc@thetanknyc. org
Los Angeles Bent Festival - bentla@thetanknyc. org
Proposals to each festival must be submitted separately.
For more information: http://www.bentfestival.org.

OPEN CALL: Organised Sound

Call for submissions
Volume 14, Number 1
Issue thematic title: Sound Art
Date of Publication: April 2009
Publishers: Cambridge University Press
Issue co-ordinator: Jøran Rudi (joranru@notam.uio.no).

This issue of “Organised Sound” will focus on sound art, a genre of acoustic expression that has a long history in both music and the visual arts. Currently, sound art is becoming a highly dynamic focus for new cross-disciplinary activity. Partially this has to do with young composers' eagerness to search out for new forms of public performance as well as new arenas. This has also led to a new way of looking at the relationship work/audience/performer/ composer.

These conceptually new approaches to music and art can be traced to developments in technology and society in general. It is interesting to note the extent to which this interest has developed outside the established networks and hierarchies of, for example, electroacoustic music.

Themes of interest include:
- conceptually oriented investigations of sound as material
- site- and context-specific art
– the use of soundscape within sound artworks
- process-oriented rather than entity-oriented definition of artworks
- use of audio and music technology whilst departing from the approaches to listening and analysis that are predominant in traditional forms of electroacoustic music.
- new technological means allow artists to pursue new arenas
- convergence in tools -> dissolving lines of distinction

Some questions that are related to the challenges posed by sound art:
How do these changes affect the relationship between concept and craft; what are the implications in terms of critical listening and our ideas of emergent qualities?
What are the implications of the use of different artistic spaces?
Is this a new way of tying art again into society, and if so, which groups in society will benefit? In other words does this represent a renaissance of social art?
Or is this yet another village in society, possessing more or less transparent demarcation lines?
With regard to the established field of electroacoustics: how do we describe the changes in aesthetics?
How can sound art and process-music (for lack of a better term) benefit us in reassessing our field, aesthetically and functionally?

We invite submissions from composers, performers, artists and researchers working in the realm of digital media and sound. Submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

Deadline for submissions is 15 July 2008. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for “Organised Sound”. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 14/3. SUBMISSION DEADLINE: 15 July 2008.

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or from: http://www.journals.cambridge.org/oso