Soundwalkers

Soundwalkers from Raquel Castro on Vimeo.
This film by Raquel Castro includes interviews with free103point9 transmission artists Michelle Nagai and Tom Roe, as well as Executive Director Galen Joseph-Hunter, and many other terrific sound artists. The description:

There are some fundamental principles regarding the construction of an acoustically healthy society, one where we can exist within the sounds of life. Respect towards voice and words, sonic awareness, the awakening of the sense of hearing. To preserve the sounds that tend to fade out, while remaining open to the sounds that spring out of each technological stride. To build an aural idiom that interprets its own symbolism. To accept the silence, enforcing it in the due moments. And, above all else, to listen.

Giant Ear))) webradio: Inside/Out NYC

Since May 2005, the New York Society for Acoustic Ecology (NYSAE) has presented Giant Ear))) each Sunday on free103point9 Online Radio, webcasting field recordings, interviews, and compositions by sound artists and anyone who could get their hands on a recording device. "Inside/Out NYC" presents New York City sound works culled from approximently two years of Giant Ear))) shows. NYSAE is a membership organization that advocates listening and promotes public dialog about the urban sound environment. Members Andrea Callard, Jonny Farrow, Edmund Mooney, Andrea Polli, and Andrea Williams produced this CD.

Noise! 2008

May 8, 2008: 10 p.m. – May 11, 2008: 1 a.m.
at Ontological Theater, St. Mark's Church, 131 E. 10th St., Manhattan, NY
http://www.ontological.com/

Streamed live on free103point9 Online Radio. Audio and video at www.free103point9.org

Noise! is a sound performance festival started in 2005. free103point9 curates for the second year. Each year the "Incubator" program at Ontological Theater hosts a Noise! festival, a three-night multi-arts event designed to promote interest in new forms of sound art. The festival will feature short compositions and performances by established and emerging artists. Each evening opens with a Radio 4x4 as the audience enters the theater. Radio 4x4 is a free103point9 collaborative radio transmission performance. Four simultaneous audio performances are separately sent through FM transmitters to radios positioned throughout a performance space. Each radio receives only one of the signals, so that the audience becomes an active collaborator in the performance, "mixing" the audio feeds by moving about the space among the four signals. Other artists will perform each evening. Tianna Kennedy, Tom Roe, and Damian Catera will curate each evening.

Thursday, May 8
Curated by Tianna Kennedy.
Opens with Radio 4x4 with Tianna Kennedy + Mark Anderson + Jordi Wheeler + Tyler Nolan.
Lith (Jordi Wheeler)
Diamond Terrifier (featuring Sam Hillmer from the Zs)
Dome Theater (Forrest Gillespie directing "Fucked for Real")

Friday, May 9
Curated by Tom Roe.
Opens with Radio 4x4 with Giancarlo Bracchi + Tom Roe + Slink Moss + Michael Garafalo.
Bunnybrains
Michael Garafalo (Latitude/Longitude )
Giancarlo Bracchi
Tom Roe

Saturday, May 10
Curated by Damian Catera.
Opens with Radio 4x4 with Damian Catera + () + Tom Roe + John Baird.
Skyline
Damian Catera
Andrea Parkins
Curated by Damian Catera

For more information:
http://www.free103point9.org/events/1833/

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

OPEN CALL: Artradio

Cornerhouse, Manchester's international centre for contemporary arts and film, announces an open call for audio, for Artradio, Cornerhouse’s temporary radio station, broadcasting in FM and online through late June to August of 2007. Deadline Friday 27 April 2007, 12 noon. Artradio is calling for open submissions of existing audio work of a diverse variety, for example; digital sound productions from the broad spectrum of experimental music and sound field recordings, found sound, sound performance and event archives, cultural interviews, radio plays and shows for breakfast. With a minimum duration of 10mins and a maximum of 1hour.

More about Artradio: Artradio will broadcast from Cornerhouse galleries, and will form the base for a dynamic array of live residency broadcasts, events, pre-recorded and archive programmes, as well as invited feeds, guest slots and submitted content. The public is invited to listen, observe and get involved. Resident artists will shape the core programming of the broadcast schedule. The artists are Diana McCarty & Pit Schultz, reboot.fm, (Berlin); Eileen Simpson & Ben White, Open Music Archive, (London), David Blandy (London). Artradio will broadcast daily from 8 a.m. – midnight (in FM for 26 days, and online for 8 weeks, pending Ofcom confirmation of FM frequency). Normal gallery hours apply. For the FM frequency, more information about the programme, to sign-up for updates, or to learn how to get involved please visit www.artradio.fm.

OPEN CALL: 60x60 project

Vox Novus is inviting composers to submit works 60 seconds or less in length to included in its fifth annual 60x60 project. 60 compositions will be selected to be performed continuously in a one-hour concert, in conjunction with multimedia elements and an analog clock marking the passage of time. During the concert each of the 60 pieces selected will begin precisely at the beginning of the minute, this will mark the end of one piece and the beginning of another. There will be no pause between the pieces. Works may be less than 60 seconds in length, but may not exceed 60 seconds. Works selected that are less than 60 seconds long will be "padded" with silence either before, after, or surrounding the composition. Please note that the total duration of the work including silence may NOT exceed sixty seconds. The 60x60 project's definition of a record work is as follows: any work created as a musical composition which is captured on recorded media, which does not require live performers for its production in broadcast at concert halls, radio, multi-media, etc. Its creation can include but not limited to acoustic instruments, voice, environmental sources, and computer (Sampling, MIDI, C Sound, ProTools, etc.). Acoustic compositions should be submitted with the understanding that it is their recording that is of prime importance and is what will be used to determine its selection.

Scores of works are strongly discouraged and will not be used in the selection process. Excerpts of larger works are strongly discouraged. 60x60 is a project of "signature works" and short works created specifically for the 60x60 project. Works generated from procedures (i.e. mathematical matrices, organizational systems, or computer programs,) remixed works, or themes and motives recomposed from other of the composer's own work are acceptable. The call is open to composers of any nationality, age, or career stage. Works submitted must not have been previously performed or broadcasted. Compact Discs that include the audio submission must be labeled with the composer's name and the title of the work. The submission form must be sent at the same time with the submitted work. Submission form must contain the composer's name, address, email, phone number, composition title, composition length, and track position on the compact disc. Biographies and program notes may be included on a separate sheet, but must be typed and each may be no longer than 100 words in length.

Multiple works may be submitted. Each work must be noted on the submission form(s) and clearly indicated on the CD. Do Not send originals! No works will be returned, and may be performed in subsequent performances after the debut concert. All submissions must be postmarked by May 21, 2007. Selected works will be announced on September 17, 2007. Submission of the work(s) on compact disc must be accompanied by the submission form and sent to: 60x60 c/o Robert Voisey, Radio City Station, P.O. Box 1607, New York, NY 10101 USA.

Deadline: Submissions must be postmarked by May 21, 2007. Submissions must include: Submission Form (including bio and program notes) and a labeled CD containing the submission in audio format. Submission forms can be downloaded at http://www.VoxNovus.com/60x60/Call.htm.

Works selected for the 2007 60x60 project will be announced on September 17, 2007.

OPEN CALL: Radio Creation Contest

The CDMC and Radio Clásica (RNE) are undertaking a collaboration to encourage the production of radio creations in order to promote this type of works. Within this line, a contest of ideas is called subject to the following
RULES
1
The works will necessarily be pieces of radiophonic creation, that is to say, whose most suitable means of production and diffusion is the radio. The works will not have been previously awarded nor emitted.
2
Words, noises, music, electronic or radiophonic editings and other similar elements may be the base of the work.
3
The project may be in Spanish only or in several languages but in this case Spanish should be the main language. The use of language or voice may also be omitted.
4
To enter the contest it will not be possible to send accomplished works, but mere projects: a written description of the work and of the elements that it will require, some excerpts as a model in cassette, CD or DAT, scores or fragments of these, acoustical materials, etc. Any form or presentation will be admitted, provided that it makes possible to the Jury to appreciate the interest of the projected idea.
5
There is no age nor citizenship limit.
6
The deliveries should be made on before April 15th, 2007 by any of the procedures allowed by the Administrative Procedure Act; such as registered mail, (postmark date will probe meeting the deadline), personal delivery, etc; and they should be addressed to:
"XIV Concurso de Obras de Creación Radiofónica"
Centro para la Difusión de la Música Contemporánea
c/ Santa Isabel 52, 5ª planta
28012 -Madrid (Spain).
7
There is no limit to the number of projects to be sent by each author.
8
The projects should arrive anonymously with an assumed name that will be reproduced on an enclosed closed envelope containing a photocopy of the DNI or passport and personal details of the author or authors. In the case of using texts by another author, his opportune permit must be accredited.
9
A Jury appointed by the CDMC and Radio Clásica will choose on the project considered the most suitable. The decisions of the Jury are without appeal.
10
The selected project will be the object of a commission by the CDMC, endowed with 6.000 euros gross. This Commission will be considered as the Prize of the Contest and it is independent of the production costs, which will be assumed by Radio Clásica.
11
Radio Clásica will produce the work with the means that the radio itself will determine. For that purpose, in addition to the human and technical means of the Radio, the facilities of the Laboratorio de Informática y Electrónica Musical del CDMC (LIEM-CDMC) can also be used. The radio broadcasting will take place during the last quarter of 2007, and we will try to give the work première at the Festival de Música de Alicante (end of September 2007). The project should be developed with enough time so that it may be produced and emitted on time.
12
By the simple act of participating, the competitors accept the terms of these Rules and the decision of the Jury.
13
The non-awarded projects will be available to their authors who can fetch them personally at the CDMC, previous identification of the assumed name, within the period of three months after the awarding is made public.
14
Once this period is over, the non-collected projects will be destroyed in order to preserve the anonymity of the Contest.