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PARTICIPATE: Festivals, Contests, Conferences, Airtime Submissions Requested!

INTERACTIVE FUTURES 06: Audio Visions
Victoria Independent Film and Video Festival - http://www.vifvf.com/
Co-sponsored by Open Space Artist-Run Centre - http://www.openspace.ca/
Parallel event � Digital Art Weeks, Summer 2006, Swiss Federal Institute of Technology � http://www.jg.inf.ethz.ch/Group/Front
Conference hotel - Laurel Point Inn - http://www.laurelpoint.com/
Victoria, British Columbia, Canada, Thurs Jan. 26 - Sun. Jan. 29, 2006.

CALL FOR PAPERS, PANELS, PERFORMANCES, & INSTALLATIONS

INTERACTIVE FUTURES is a forum for showing recent tendencies in new media art as well as a conference for exploring issues related to technology. The theme of this year's event is Audio Visions. IF06 will explore new forms of audio-based media art from a diverse body of artists, theorists, and sound practitioners. Sound poetry, web-based audio and multimedia, mobile audio performance, new forms of music theatre, synaesthetic performance, hybrid forms, sound-based installation, video and sound, and environmental sound are all of interest to Audio Visions.

The proliferation of audio technologies, audio-visual collaboration, and hybrid forms of live performance in the new millennium is striking. Audio artists are exploring the areas of mobility, virtuality, performance, and audience interaction from an experimental point-of-view. Audio Visions invites scholars, sound-artists, and performers of all stripes to submit paper, panel, performance or installation proposals in one of the three following categories.

1. "Sound and Vision" lecture and panel series - Scholars, artists, and practitioners working in audio or audio-visual-based new media are encouraged to submit proposals for IF06. We are interested in a broad range of audio including: computational, interactive or generative audio; the creation of digital audio tools; synchronization between sound and visuals; performative art that explores language, voice and body; streaming radio and mobile sound works. Presentations should be, in part, demonstrative. We recognize that sound art is evolving and that categories have become increasingly irrelevant - we encourage proposals that push the boundaries of the traditional conference paper.

2. "Earshot" performance series � "Earshot" is seeking experimental audio-based performances that challenge assumptions about audio forms and performance conventions. Avant-garde, post-avant-garde, techno, electro-acoustic, synaesthetic production, liminal art and hybrid performance are all within our desired range. "Earshot" is primarily interested in new types of electronic audio-visual performance as well as models for audience participation in sound works. "Earshot" will run performances at Open Space for each night of IF06.

3. "Tangible Frequencies" installations � We are interested in audio installation works that consider site, space, vision, volume and perception and how physical location 'matters' to the reception of audio frequencies. IF06 has identified areas within Open Space Gallery to function as controlled locations for sound installations.* We welcome proposals that respond to the particular characteristics of these locations through their acknowledgement of private and/or public space and use. Installations may provide audio continuity to the existing locations, or respond as intervention and critique.

INTERACTIVE FUTURES is part of the Victoria Independent Film and Video Festival and applicants are encouraged to check the Festival website for more information on the broader program.

CONFIRMED SPEAKERS / ARTISTS

� Greg Hermanovic of Derivative software is a visionary software-engineer involved in the creation of real-time visual tools. In 2003 he received an Academy Award for the pioneering of modeling in the film industry with PRISMS and Houdini. Greg coordinated the realtime animation at SIGGRAPH 98's Interactive Dance Club, and directed special effects for Michael Snow's Corpus Callosum. Derivative's Touch software, a range of tactile interfaces, brings advanced realtime animation tools to a diverse cross-section of artists, including Richie Hawtin and Rush. Greg will perform live visuals with Toronto-based DJ Tom Kuo.

� Tom Kuo uses a grounding in techno to pursue a varied range of precise electronic strains. Tom was recently named one of Toronto's Top Ten DJs by NOW magazine.

� Atau Tanaka is known for his work in interactive music, including performances with biosignal gesture systems. He has conducted research at IRCAM in Paris and was Artistic Ambassador of Apple Computer Europe. His work with sensor-based musical instruments and network audio installations have received prizes and support from Ars Electronica, the Fraunhofer Institute, the Japan Foundation, and the Daniel Langlois Foundation. His current research at Sony CSL Paris focuses on harnessing collective musical creativity on mobile devices.

� J�rg Gutknecht is a computer scientist with a passion for new hybrid art forms. He has actively participated in culturally-oriented "wearable computing" projects, including "Instant Gain in Grace" (motion tracking of a Butoh dancer), "Going Publik" (distributed orchestra based on mobile electronic scoring), and "On the Sixth Day" (multi-channel video system for interactive storytelling). Together with Sound Artist, Art Clay, he organizes the Digital Art Weeks which offers performances and provides courses in the areas of computer-aided art and music.

� Art Clay is a specialist in the performance of self-created works with the use of inter-media, and has appeared at international festivals. Recently, his work has focused on large-scale performative music-theater works and public art spectacles using mobile devices.

� Jim Andrews publishes vispo.com. It is the centre of his work as a visual poet, audio artist, programmer, and critic. His work in interactive audio and word-based web media has been published and shown widely in such venues as rhizome.org, turbulence.org, and the trAce Online Writing Centre. Since 1999, he has been creating interactive audio at vispo.com/vismu.

SUBMISSION GUIDELINES

INTERACTIVE FUTURES is interested in artistic and theoretical work that relates to audio performance, production and hybrid forms.

� Papers, Panels, and Presentations can include DVDs, audio CDs, video tapes, games, web-sites, etc. and should be 45-minutes in length.

� Proposed artwork for exhibition may take the form of performances ("Earshot"), installations ("Tangible Frequencies"), or audio-related screenings ("Earshot" or "Tangible Frequencies").

� Applications should not exceed 500 words. Applicants should indicate one of the three festival categories in the subject of the message. Please include a 200 word max bio.

� All proposals must be submitted in text only format either as an attachment or within the body of the email message.

� Please present examples of your work as a URL to a web-site.

� If your presentation requires specific technologies please describe your needs in detail.

Proposals should be submitted electronically to ONE of the following persons:

� "Sound and Vision" lecture and panel series - Randy Adams runran@runran.net

� "Earshot" performance series - Steve Gibson sgibson@finearts.uvic.ca

� "Tangible Frequencies" installations - Julie Andreyev lic@telus.net

* SPECIAL NOTE FOR INSTALLATION ARTISTS APPLYING TO "TANGIBLE FREQUENCIES':

Open Space has the following areas available to install sound installations:
� Parallel gallery (opens onto the street)
� Bathrooms (2)
� Back Stairs (opens onto the back alley)
� Main gallery (low volume or headphones only)

A floor plan for Open Space can be downloaded at www.openspace.ca/img/floorplan.pdf

Please indicate a preference for one of the above areas in your proposal. Artists should keep in mind that Open Space is a shared space and therefore low volume will be required. Other venues may be organized by special arrangement if louder volume is required.

FUNDING

INTERACTIVE FUTURES does not have funding for travel or accommodation. Presenters and artists are expected to apply for travel funding from their home institutions and/or granting bodies. INTERACTIVE FUTURES is applying for funding for performance and installation artists exhibiting at Open Space. If this funding is obtained, performance and installation artists will receive a modest fee according to CARFAC (http://www.carfac.ca/) regulations.

All presenters and artists will be given a pass to all INTERACTIVE FUTURES events and will have access to the "Hospitality Suite' at the Festival hotel (food and drinks). All presenters and artists will be eligible for the conference rate at Festival Hotels (between $40-110 per night).

DEADLINE FOR ALL PROPOSALS: Friday, September 23, 2005.

Notification of acceptance of proposals will be sent out on or before October 7, 2005.

EQUIPMENT ACCESS

Laurel Point Inn � Presentations

The following equipment will be made available for all presenters:

� Mac computer with Monitor, keyboard, DVD/CD-ROM drive.
� Data/Video Projector.
� VHS Player.
� Sound system with amp and two speakers.
� Wireless high-speed internet access.

Open Space � Performances and Installations

The following equipment is available for artists at Open Space. Artists should be aware that equipment will have to be shared and therefore should not propose to use all of the below devices simultaneously. Installations and performances should be easy to set-up and take down. Wherever possible artists should apply their own technology.

� 2 Data/Video Projectors.
� VHS Player.
� DVD Player.
� 3-4 Macintosh computers.
� Sound system with amp, 16-channel mixing board, mics, and four speakers.
� Cable modem internet connection.

For a full list of resources available at Open Space go to: www.openspace.ca/space/resources.htm

CONTACTS:

Victoria Independent Film and Video Festival Director:
Kathy Kay director@vifvf.com

INTERACTIVE FUTURES Co-Curators: Steve Gibson sgibson@finearts.uvic.ca
Julie Andreyev lic@telus.net

INTERACTIVE FUTURES Paper Editor:
Randy Adams runran@runran.net

OPEN SPACE New Music:
Tina Pearson newmusic@openspace.ca

Victoria Independent Film and Video Festival:
Mailing Address - PO Box 8419, Victoria, BC, V8W3S1, Canada.
Office Address - 808 View Street, Victoria, BC, V8W1K2, Canada.
Tel: (250)389.0444. Fax: (250)389.0406. E mail: festival@vifvf.com

University of Minnesota School of Music, Noel Zahler, Director
Announces
2006 Spark Festival of Electronic Music and Art
Douglas Geers, Director
West Bank Arts Quarter, University of Minnesota Twin Cities Campus
February 22-26

CALL FOR COMPOSERS, ARTISTS, and PRESENTERS
Submission Deadline: September 30, 2005 (postmark)

The University of Minnesota School of Music is proud to present the 2006 Spark Festival of Electronic Music and Art, February 22-26. The festival will be held on the Minneapolis campus of the University of Minnesota (USA) and at the Walker Center for Art, Minneapolis. Now in its fourth year, the Spark Festival showcases the newest groundbreaking works of digital music and art. Last year's festival included innovative works by over one hundred international composers and artists, including featured guest artists Philippe Manoury and DJ Spooky. Leading scholars and technology specialists also presented papers relating to new technology and creativity. Audiences for the concerts, installations, and lectures last year totaled approximately 2,000 people.

Spark invites submissions of works incorporating new media, including electroacoustic concert music, experimental electronica, theatrical and dance works, installations, kinetic sculpture, artbots, video, and other non-traditional genres.

Spark also invites submission of scholarly papers on technical and aesthetic subjects related to the creation of new media art and music. All accepted papers will be published as part of the Spark proceedings. Please see http://spark.cla.umn.edu/archive.html for a PDF copy of the Spark 2005 proceedings and program.

MUSIC SUBMISSIONS
Music submissions will be accepted in four categories: 1. Concert works: Electroacoustic works with and without performers. Performance venues will accommodate 2-8 channel works and works with video. Although there is no strict limit of duration, pieces of fifteen minutes or less are encouraged. Note that Spark 2006 will feature guest performers Maja Cerar (violin) and Brian Sacawa (saxophone). Works written for solo violin and solo saxophone with digital music and/or images are especially welcome. Other instruments will be available, and details on available performing forces will be posted on the Spark website with the submission forms.

2. "Club" works: Experimental electronic performances in a "club- style" venue. Performers of various styles will be considered, including those influenced by IDM, hip-hop, glitch, jazz, and etc. Selected performers will be given sets of 15-30 minutes. Performance venue will accommodate stereo sound and video.

3. Installations: [See "Art Works" below]

4. Music with video [See "Art Works' below]

ART WORKS
Submissions will be accepted in three categories:
1. Installations and gallery works: A number of installation and gallery exhibitions will be mounted in various spaces on the UMN campus, including the Weisman Art Museum. Please include technical and space requirements with submission. Installations may be physical objects, video and/or sound projections, or combinations thereof. Artists may be required to provide some or all of necessary technology to mount installations.

2. Radio: Spark Radio is a new addition for the 2006 festival, initiated and curated by Abinadi Meza, a Minneapolis-based artist. Submissions for Spark Radio may include sound art, samplism, field recordings, turntablism, pirate radio, sonic deconstructions, and other transmissions. Please submit on CD or CD-ROM.

3. Video: Experimental video works will be screened at multiple Spark events. Videos featuring digital music compositions (two-channel or Dolby 5.1) are welcome, but this is not required. Although there is no strict limit of duration, pieces of twelve minutes or less are encouraged. Please submit on DVD or VHS (NTSC).

4. Theater/Dance: A number of theatrical and dance works incorporating new technologies will be programmed at Spark 2006, with a special interest in shorter works that can be integrated into programs with music and video works. In addition, although not confirmed as of this writing, we hope to produce at least one performance in a dance theater with video projection and an Internet 2 connection. Please include performance venue and technical requirements with submissions.

PAPERS
Technical papers, lecture/demonstration, and workshop submissions that deal with topics relating to creating arts and music with new technology are encouraged, including intermedia composition, performance, human-computer interaction, software/hardware development, aesthetics, and history. Paper and lecture/demonstration submissions will be accepted in two categories: Standard length: Twenty-minute presentation, allowing for five minutes of Q/A. Short length: A feature unique to the Spark festival is Symposium Fast Forward, a presentation of five to ten-minute presentations followed by five to ten minutes of Q/A. The idea of Symposium Fast Forward is to create a venue where ideas and projects may be presented succinctly with time following for discussion and brainstorming. Both students and professionals are encouraged to submit presentations of this type.

Standard submissions should consist of a two-page abstract with bibliography. Short length submissions should submit a 1-2 paragraph abstract with bibliography. Camera-ready papers will be due on November 1, 2005.

Individuals may submit a maximum of one paper and one lecture/ demonstration, and these will be submitted online. More information about the submission process will be available soon on the Spark 2006 website when the online submission procedure has been activated. All accepted papers will be published as part of the Spark proceedings.

SUBMISSION REQUIREMENTS
Applicants are invited to submit one work per category in up to three categories for consideration. All applicants must complete an online submission form on the Spark Festival website and include their submission number(s) with any physical media sent via postal mail. The submissions website will be at spark.cla.umn.edu/ submissions.html and will be activated in late July. More details about the submission process will be available on the Spark 2006 website when the online submission procedure has been activated.

Regarding music and other performance works: Performing resources will be drawn from the University of Minnesota, although applicants are welcome to provide their own performers if desired. More information about available performers will be posted on a href="http://spark.cla.umn.edu/">spark.cla.umn.edu/ when the online submission procedure has been activated.

Composers and artists whose works are selected for inclusion are strongly encouraged to attend the festival. Scholars whose papers or demonstrations are accepted will be required to attend Spark to deliver their presentation.

TECHNICAL DETAILS
Selected works will be announced by November 1, and travel and accommodations information will be posted on a href="http://spark.cla.umn.edu/">spark.cla.umn.edu/ by the same date.

Submission deadline is September 30 (postmark). More information and the online submissions procedure will be posted soon on the Spark 2006 website at a href="http://spark.cla.umn.edu/">spark.cla.umn.edu/. Questions can be directed to the Spark hosts at sparkfst@umn.edu.

Douglas Geers
Assistant Professor, Music Composition
Director, Electronic Music Studios
University of Minnesota, Twin Cities, USA
www.dgeers.com

CALL for Arts and Technology Submissions
CALL FOR ARTS AND TECHNOLOGY PAPERS, MUSIC COMPOSITIONS, ART WORKS, THEATER, VIDEO, FILM, DANCE COMPOSITIONS AND INTERACTIVE INSTALLATIONS

�CONNECTIVITY: THE TENTH BIENNIAL SYMPOSIUM ON ARTS AND TECHNOLOGY�, March 30 � April 1, 2006

The Ammerman Center for Arts and Technology at Connecticut College is pleased to announce �Connectivity: The Tenth Biennial Symposium on Arts and Technology�, March 30 � April 1, 2006. The mission of the symposium is to present new works, research and performances in the areas of technology and the arts. The symposium will consist of commissioned works, paper sessions, panel discussions, art exhibitions, interactive environments, music concerts, screenings and multi-media performances. In an effort to demystify the artistic process and create a forum for dialogue, we are encouraging all presenters and artists to speak about their work at the symposium.

The Center seeks submissions in the general areas of Interactivity, Cognition, Compositional and Artistic Process, Social and Ethical Issues in Arts and Technology, Art, Music, Video, Film, Animation, Theater, Dance, Innovative Use of Technology in Education, Scientific Visualization, Virtual Reality, and other pertinent topics relating to arts and technology.

SUBMISSION CATEGORIES

COMMISSIONED WORKS Proposals for new, original, interdisciplinary works will be accepted for a �Commissioned� category. Works must be created by a team consisting of two or more members, and must combine two or more areas of creative expression and contain a major technology component. Proposals will be accepted for performances, concerts, showings or installations; completed works will be presented during the symposium. Proposals must include detailed technical and production requirements, and a proposed budget. Limit of one proposal per team. The piece must not have been previously published, performed or exhibited. Awards will be granted at the discretion of the Center. Submissions not accepted for the commissioned category will also be reviewed for the general submissions category. Accepted commissions will be awarded a stipend of $3000 and a residency at Connecticut College between March 27 and April 1 that includes: - performance or installation of the accepted work - workshops with students - attendance at the symposium - presentation at the symposium

PAPERS
A two-page extended abstract or complete paper, including technical requirements, must be submitted by email or mail. Upon acceptance, revised papers must be submitted electronically by January 31, 2006 as a PDF. Complete technical requirements for presentation must be included. Papers will be published by the Center in the symposium proceedings. All rights will remain with the author. Papers will be selected for twenty-minute presentations as part of the daily schedule of speakers. Papers may be grouped by the Center in a panel discussion format.

PANEL DISCUSSIONS
Proposals for panel discussions are encouraged. Proposals should include names of prospective panelists and topic, which should address the general areas of the symposium. Papers may be grouped by the Center in a panel discussion format.

CREATIVE WORKS
In addition to academic and theoretical papers, submissions of technology-based or technology-oriented creative works are encouraged. Maximum one proposal per person or team, and we reserve the right not to review multiple pieces in a single submission. All submissions must be accompanied by a one-page description/abstract for presentation at the symposium about the work, a list of complete technical needs, biography and contact information. See specific categories for additional requirements. All presenters and artists are encouraged to speak about their work at the symposium. Symposium registration will be required for all symposium attendees.

MUSIC COMPOSITIONS
Music submissions (composition, performance, theory, interactivity, signal processing and music understanding) are encouraged. Works for instruments, digital media, CD or interactive compositions are also being solicited for �tape only� concerts or live performance. Works should not exceed 15 minutes in length and should be submitted with accompanying score, where appropriate. Music must be submitted on CD for review, with accompanying scores as required. Musicians, dancers and actors may be available for live performance pieces. All submissions must be accompanied by a one page description/abstract for presentation at the symposium about the work. Complete technical and performance requirements must be included.

ART
Submissions of digital art, web art and other technology-based or technology-oriented art forms are encouraged. Submissions of desktop interactive works, self-contained web works, time based work, performance and installations will be considered. Acceptance may be constrained by technical needs, security and financial considerations. Artworks will be reviewed on the basis of documentation of the work presented in the form of a website, CD, DVD, VHS or slides. Submissions must include a one-page description/abstract for presentation at the symposium about the work, portfolio (maximum 4 jpegs, no larger than 2 Mb each), brief biography, contact details, and complete technical needs and spatial requirements.

VIDEO AND FILM
Submissions of short video or film works that include a significant 'technology' component in their creation, aesthetic or theme are encouraged. The 'tech' involved may be 'high' or 'low', ranging from digital animations and motion capture work on the 'high-tech' end to various methods of creating film without photography, or novel uses of the projector beam on the low tech side. Works that display worthy reflections on the nexus of art, society and technology, even if created by primarily 'conventional' means, are encouraged. Submissions in the category of 'expanded cinema' and projection performance will be accepted, but resources are limited and artists presenting such work should expect to bring all or much of their own essential gear. Submissions must include a one-page description/abstract of the work and VHS, DV or DVCAM tape, DVD (tape preferred). For works involving anything other than standard video or 16mm projection, a complete description of technical and space needs is required. Exhibition format will be DV, DVCAM, or 16mm film (no home-burned DVDs).Selection for screening may be made in part on the maker's willingness/ability to attend the symposium.

DANCE AND THEATER
Computer-generated or computer-aided dance compositions and theater works are being solicited for live demonstrations or for videotaped presentations. Specially produced dance or theater videos are of particular interest as opposed to concert tapes or other archival uses of video. Also of interest are proposals for workshops, demonstrations of software for dance or theater notation, choreographic analysis, interactive studies and/or multi-media studies of performance in dance and theater. Performances may be accepted, but will be limited by technical needs and financial considerations. All submissions should be accompanied by a web site, CD, DVD or VHS, and one page description/abstract for presentation at the symposium about the work, biography, contact details, and complete technical needs and spatial requirements.

IMPORTANT INFORMATION FOR ALL SUBMISSIONS

DEADLINES
(must be postmarked or emailed by date)
November 1, 2005: Commissioned Works Deadline
December 1, 2005: Commissioned Works Notification
December 1, 2005: General Submission Deadline
December 22, 2005: General Acceptance Notification
January 31, 2006: Final papers must be received as a PDF
March 27 � April 1, 2006: Residencies for Commissioned Works
March 30 � April 1, 2006: Symposium

RETURN
Submissions, art works, slides, CDs, DVDs, VHS, tapes or scores will only be returned if a self-addressed stamped envelope or packaging is provided.

SEND SUBMISSIONS TO:
Ammerman Center for Arts and Technology
Connecticut College
270 Mohegan Avenue � BOX 5365
New London, CT USA 06320-4196
phone: [860] 439-2001
email: cat@conncoll.edu
cat.conncoll.edu

The 10th Biennial Symposium is sponsored by Citizens Bank, USA.

(A) r4wB!t5 micro.Fest presents
r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r
@ AlterSpace iin CHI IL .US
DEADLINE == 2005.08.25

The r4W.D!0 P|_4y b4(|< b00/\/\ b0X0r serves sliced, diced, chopped, chunked + mashed up r4WB!t5 of [music/radio/culture] pressure cooked + digitally freeze dried to hard disk. �opied, appropriated, reused + remixed audio files will be streamed through the gallery space via ye olde skool boomboxes. submit digital audio projects for play back on boom box systems as an aspect of the 2005.08.27 (A) r4wB!t5 micro.Fest to be held in CHI IL .US @ AlterSpace. (A) r4WB!t5 organizers seek digital audio projects conceived of as albums or especially appropriate for the context of radio broadcast to multiple boom boxes.

submit URI's aka web addresses of projects to:
r4wb1t5 AT gmail.com

by 2005.08.25 in order to be considered for inclusion.

(A) r4WB1t5 micro festival is a new platform or framework for (A)narchistic forms of decentralized mini or micro festivals to self-organize around themes + theorypractices of raw bits of digital art + dirty new media. (A) r4WB!t5 micro.fest is an open + decentralized platform for playing realtime systems in conversational contexts:
r4wb1t5.org

AlterSpace is n alternative gallery/workshop/critique space hosted in a Logan Square (Chicago) apartment. AlterSpace aims to provide a venue for emerging artists to share their work and ideas in a supportive environment that exists outside of the commercial sphere:
www.cayetanoferrer.com/alterspace/

�tracks wanted for a power-field comp - recordings made "in the field" using power electronics

�whatever "field" means to you, go there. and however you want to process, amplify, make it audible in that location or not,,,,, just bring yr gear and record it, whatever. take a picture too if you can, i'd like to use them for the package. honor system - no edits or overdubs

�track length 2-10 min, longer if it is really good.

�the final project will come out end of the year. deadline around halloween. everyone gets 2 copies of the comp, and can order more for real cheap (not sure yet what that will be).

�send tracks, title, site location && equipment (optional), pics, and any other info about yrself to

�bob bellerue - power/field
�662 n. heliotrope dr
�los angeles, ca 90004

�email questions to bob_AAAATTT_halfnormal_DDDOOOTTTT_com. info about the label can be found here: anok.halfnormal.com

�thanks!!!! look forward to hearing some new work �bbbbbb

Postmark Deadline: September 15, 2005

MATA: Music at the Anthology is currently accepting scores for consideration for commissions and performances for the 2006 MATA Festival in New York City, in the Fall of 2006.

http://matafestival.org/guidelines.html

Materials for submission must include:
2 recordings of samples of recent work (MIDI tapes will not be accepted);
scores to accompany the above recordings (unless scores are not pertinent);
biography or resume;
list of works;
SASE if you wish to have your materials returned.

Although commissions are only awarded to composers under 40 at the time of submission, composers of all ages who are at the early stages of their careers will be considered for programming on the festival. Commission amounts range from $1500 to $3000, depending on the parameters of the work. Composers are expected to attend the premiere of their work. Please include a sentence in your cover letter specifying if you would like your works to be considered generally for the festival in the event that you are not chosen for a commission. MATA has commissioned work for a broad range of media, including Partch instruments, children's chorus, and video.

Please send whatever you consider to be your best work. If your music has been programmed by MATA, or you have received a commission, you must wait three years before re-applying. Only 1 commission will be awarded to any 1 composer in his or her lifetime. To submit or for more information, contact:

�����Music At The Anthology (MATA)
�����412 West 42nd Street, Suite 4
�����New York, NY 10036
�����Tel/Fax: (212) 563-5124
�����Email: info@matafestival.org

Thank you for your interest in MATA.

(((call for works/sound is art)))
www.phonurgia.org �

Chisel, cut, mix, set in spaceŠSound has the power of the cinema and is lighter �

Among the prizes awarded for acoustic creation, the Phonurgia Nova competition has, since 1986, occupied a special place by virtue of its recognition of artists whose work exploits sound as a medium for expressing the real and the imaginary. In 2003, 150 productions from 19 different countries were entered in the prize. �

This year's competition will distinguish authors whose work manifests a keen sense of sound and listening as means of expression, on two areas : �

RADIO ARTS will privilige all forms of inventive radiophonic creation: documentary, fiction, essays, interviews, radio mix, H�rspiel, experimental forms etc. NEW MEDIAS awards will go to sound installations or sonic works which have been specially created for "new media" to bring new experiences in sound art to listeners - mobile phone, audioblog, site exploring the acoustic dimensions of the net. �

In each category the jury will deliberate on two types of work:
1)completed productions
2)projects �

(") Prizes
One Radio Arts prize and one New Media prize each of 1 500 euros and 3 artist's residencies at GRM-INA (Paris), IMEB (Bourges) and GMVL (Lyon), 3 major studios for electronic music and sound art internationaly known. Ten works will be selected for presentation at the third Festival de l'Ecoute, Arles, 2006. Additional prizes could be given at this time. Certain works will be broadcast by the organisations and radio stations associated with the Festival. �

(�) Deadline
The closing date for registration of entries: September 1, 2005. Results will be announced on Saturday, October 1, 2005, in Paris at la Maison du Geste et de l'Image. �

(*) Sound archives
All the materials received will constitue a permanent archive of audio works. This archive will be opened to the public. �

(!) More info and application form available on www.phonurgia.org �

(/)Questions concours@phonurgia.org

Are you interested in performing on the Meridian Music series?

We welcome your interest and want you to have a sense of what we're seeking for this series. The space is a wonderful, intimate venue, a rectangular gallery space, deeply windowed at one end, hardwood floored, 14 1/2 feet by 30 feet with a 10 1/2 foot ceiling. We can seat a maximum of 50 people. We're on the second floor of a building in downtown San Francisco, generally quiet, but with some street sounds audible. There is not a piano in the space. The audience usually sits on comfortable folding chairs. Because it is an active, vibrant art gallery, the music always occurs in relation to the current exhibition. So, we are interested in music that works well in this resonant space.

Each concert is professionally recorded by Michael Zelner of Zoka Productions. With this opportunity, those selected will also share their unique musical perspective with a group of about 15 low-income, high school aged, interns in a one-hour workshop.

We invite proposals from composer/performers for solo or very small ensemble performances that take into account the size of the room. Quiet, "lower case" music works well here, so do sonically saturating pieces. It's a small space, and we respect the ears of our audiences and we want performers who understand that. We host a wide range of styles and approaches, including free improv, structured improv, minimalism, new (and old) complexity, as well as streams from jazz, "concert" music, art music from all world cultures, experimental music, and performance art. We hope to present a wide variety of these sorts of art music, and we need your proposals to help us to do that.

Your proposal needs to let us know what you wish to perform and how you sense your work fitting into the Meridian Music series. Just a few lines of text are fine; we're not after pages of information. You're also very welcome to enter a conversation with us about what you'd like to do. We're working artists and musicians and educators and we always enjoy talking with others in these fields. We want your experience with us to benefit you as well as us and that is why we look thoughtfully for good matches of performer and space.

We look forward to hearing from you!

Sincerely, Tom
Tom Bickley, Curator, Meridian Music tbickley@metatronpress.com
www.meridiangallery.org/MGMusic.htm

to be released by UBUIBI
ubuibi.org/wtbtn/

the 'women take back the noise' compilation project will be a compendium of projects by women who experiment with various difficult sound mediums such as noise, machine-noise, laptop, glitch, cut-up and other related genres.

ARTIST TRACK LENGTH and DUE DATE

maximum total time per artist piece - 8 minutes

format for submissions: CD, cassette, mini-disc

we are asking all artists to submit exclusive pieces ONLY.

upon release, each artist will receive copies of finished CD

curator: ninah pixie (aka 'weirdpixie') ninah@ubuibi.org

::: this project is a not-for-profit compilation :::

----/ Contact Info /---------------------------------------------------- ninah pixie
ninah@ubuibi.org
ubuibi.org/wtbtn/

Hope to meet all of you there
very best
Nikola Lutz

to find out about work we've produced and presented, goto:
www.weird.org/what_we_have_done/

Deadline for submission:� October 25th, 2004

Open topic -- No entry fee

Please visit Mediatopia for submission guidelines and entry form mediatopia.net

Mediatopia is a recurring networked culture space for art, technology and writing. We still believe in networked culture. Mediatopia.

"Mediatopia's projects may lure you into their spectacles�or drive you to the streets in protest!" -Valerie Lamontagne for Rhizome

"Make sure you set aside plenty of time for browsing this site as it's likely to send you off on a trajectory of your own." -Helen Varley Jamieson for Rhizome

"Tensions are exposed and desires embellish theories of cyberspace. Ideologically charged electrons paint a flesh filled world of vanguard reflections." -Ludmil Trenkov for NetArtReview

Produced by Adhocarts.org, Curated by Lara Bank and Andrew Bucksbarg

Call for submissions

Introducing SONUS.ca, a free online listening library featuring all forms of experimental electronic music. With over 1200 works from artists around the world, SONUS.ca is the world's most extensive audio web-resource dedicated to technology-based sound exploration. Best of all, it's free to listen and free to submit your work.

Sonus is built around a Flash interface, which makes the site simple to use and navigate. It's easy to create and modify playlists, or find music in the library with the powerful search engine. Curated galleries will be a regular feature, showcasing work from different labels and festivals, or presenting work chosen by a curator around a particular theme or style.

With these features, Sonus is a great way to promote your work. You can include biographical information, track notes and links to personal webpages. So why not send in your audio? The CEC will encode it as high quality mp3 and include it in the Sonus library.

If you run a weblabel or have a personal webpage, you can use Sonus to house your audio with a link directly from your page. Contact us for more information.

Sonus.ca is supported by the membership of the CEC and the Canada Council for the Arts. Sonus.ca is dedicated to presenting experimental electronic music of all kinds, and has attracted over a quarter of a million listeners since its inception. Check it out:
sonus.ca

For submissions: sonus.ca/call.html

RAM-Radioartemobile and Nomads & Residents

A collection and a traveling archive of audio-artworks, a database on the Internet, and a center for different ways of listening

Proposal open to all artists who work with sound

Radioartemobile (RAM) and Nomads & Residents (N&R) kickoff an audio-artwork database.

All artists who have worked or are working with sound are invited to send an artwork on audio CD, DVD, or on a vinyl record. The RAM headquarters in Rome, via Conte Verde 15, will function as a gathering and a listening point and as an archive for all materials received. It will be open to public. Artworks will be gradually posted in the section "database" of the Radio website www.radioartemobile.it.

RAM is also the first location of a traveling archive initiated by Nomads & Residents. The second public presentation will be in San Francisco, at Southern Exposure, in the spring of 2005.

GUIDELINES FOR SUBMITTING AUDIO-WORKS
- unlimited subject matter;
- each CD, DVD or vinyl record must contain only one track;
- time is unrestricted (except that of the technical features of the chosen device);
- each audio-work must be entered with a written indication of: the name of the author, a title, duration, and an e-mail contact address;

- the sender can mention any requirement needed to listen to the audio-work (type of loudspeakers, stereo system, headphones, etc.). These indications will be taken into consideration each time RAM would chose the piece for installing it, within the technical and logistic features available;
- RAM and N&R cannot assure a complete accessibility for the works that include a primary visual factor;
- the sender is responsible for mailing costs of submission;
- the works will not be returned to the senders.

Radioartemobile and Nomads & Residents will take the best care of the entered works, but cannot take liability for accidental damage, loss or theft. For this reason we suggest to send two copies of each material. RAM and N&R will archive all sound works that fit the above mentioned requirements and will present them to the public.

Lorenzo Benedetti, Riccardo Giagni and Cesare Pietroiusti will listen to all the entries and will gradually post them in the web-site database. In turn-to the discretion of the curators- some artworks will be displayed in the RAM headquarters in Rome with the aim of offering the public also the possibility to explore different ways of listening to audio-works. The database will gradually increase the number of contributions and will be presented to the public at regular appointments. The first public presentation is scheduled for mid October 2004.

Deadline for first submission is September 1, 2004.
Next appointment: Southern Exposure, San Francisco, spring 2005

Please send the material to:
RAM Radioartemobile
Via Conte Verde 15
00185 Roma - Italy

CALL FOR SUBMISSIONS
Dangerous Curve
Los Angeles, CA USA

Performance art, video, installations, experimental music.

Dangerous Curve is a new Downtown Los Angeles experimental exhibition and performance art space committed to supporting visionary emerging artists of all ages, by emphasizing one-person shows of risky, intelligent work that is not necessarily commercially viable nor currently popular. Dangerous Curve is also a new venue for performance artists, with performance-exhibits, monthly performance art and experimental music events, and an annual end-of-summer festival planned.

Dangerous Curve is looking for performance artists and experimental musicians for their monthly Performance Art and Experimental Music Nights. We will give preference to work that is, in the words of Jacki Apple, radical content in radical form. We want work that pushes the envelope, not pure dance, singing, or theatre.

Submission format: DVDs/CDs/URLs preferred. We can handle videotapes and slides, but not to your best advantage. For performance art, a written description may even suffice; musicians must send samples.

Deadline: Ongoing.

Mailing address: Dangerous Curve, POB 532281, Los Angeles, CA 90053-2281
Email address: events@dangerouscurve.org

See dangerouscurve.org for directions, etc.

New Media Scotland calls for participation for Drift - an exploration of sound art and experimental music which comprises live events, radio broadcasts, moving image and publications.

The accessibility of the Internet together with new tools and methods for digital recording, manipulation, reproduction and distribution have changed forever the way that we think about and interact with sound, giving us new ways to communicate our ideas. An increasing number of artists, producers, DJ's and sonic creators, from a broad spectrum of disciplines and varying modes of practice, are exploring streaming media as a viable format. We want to open up this channel further.

We are offering four opportunities to take part in Drift, details follow. Further information, guidelines and application forms available from the Drift web site:

www.mediascot.org/drift

Ongoing, Internet Project

PANSE, an open platform for the development of audio-visual netart, is now open and accepting connections. All information available at: http://130.208.220.190/panse

Write me if you have any questions.

Pall Thayer
artist/teacher
Fjolbrautaskolinn vid Armula
http://www.this.is/pallit
http://www.this.is/pallit/isjs
http://www.this.is/pallit/harmony http://130.208.220.190/panse

Ongoing, Internet Project

Email Music Project : Theme : MUSIC : Deadline : ONGOING
Send Email containing text, images, links, etc.
(Anything relating to music)

The Process : I use a program which converts text and images from your Email to Random MIDI musical note data. Each submission generates a NEW instrument track and is then added to the musical data generated from all previously received Email. The ongoing process is repeated and a type of song is composed. The Music is composed directly from the elements contained in all Email. The work will be presented on a website when I get enough Email for music. All will be informed.

Send Email to : emusicproject@hotmail.com

Ongoing, Internet Project

The Infinite Sector Project is an independent network of experimental musicians/bands/and artists from around the globe.

We are seeking contributors for our series of non-profit compilation CDs. Anything is accepted without editing or censorship, as long as it is free of hate and defies traditional musical boundaries.

For more information please go to : www.geocities.com/klaodna

Anyone living in Melbourne, Australia should know about the Melbourne electroacoustic nights:

http://farben.latrobe.edu.au/mikropol/david/mean.html

We had our first meeting last week - it was good fun, with some interesting music being played and a cool demonstration by Tim Kreger of his new 3D real-time sound visualisation system.

The format is ad-hoc show-and-tell and/or CD/DAT playback. Everyone should feel free to come along and play something or just check it out.

GRANT

The New York Arts Recovery Fund will survey NYC artists to find out if they need job retraining in the areas of teaching, social work, and some construction-related trades as well as arts organizations to see if they have laid workers off. Artists will be eligible for the Consortium for Worker Education's job retraining program for NYC artists whose economic base has been impacted by the disaster. Additionally, it is possible that CWE will provide, with NYFA's help, partial wage subsidies to nonprofit arts organizations that laid workers off or cut back their pay or hours as a result of September 11.

www.nyfa.org/9-11.htm

ORGANISM: MAKING ART WITH LIVING SYSTEMS

organism is a new mailing list for people interested in art that involves living systems. discussion topics on organism include technical, practical, aesthetic, and ethical issues.

subscribe to the organism mailing list: http://music.columbia.edu/organism/

the idea of making art with living systems is not new; you might even consider a topiary garden or a goldfish pond to be biological art. what is new is the degree of control over biological systems and materials contemporary technology offers us.

some artists making biologically-based art:

Eduardo Kac has made several transgenic artworks, including GFP Bunny, a genetically engineered fluorescent rabbit.
www.ekac.org/gfpbunny.html

Damien Hirst's A Thousand Years involves a cycle of maggots eating a cow head.
www.eyestorm.com/hirst/read_first.asp

Yukinori Yanagi uses ant farms in some of his work.
www.hainesgallery.com/YY.work.html

Edgar Lissel's Bakterium is photographic images rendered in light-sensitive bacteria.
www.germangalleries.com/LAGalerie/Lissel.1.02.html

Richard Reames is an arborsculptor who makes extreme trees.
www.arborsmith.com

douglas repetto (that's me!) has a number of pieces, like How to Annoy a Plant, that involve plants and time-lapse photography.

......................................
............. organism ...............
... making art with living systems ...
http://music.columbia.edu/organism

The changes wrought by the terrible events of September 11, 2001 are still becoming visible. The arts community has, like every other area of life, been deeply affected by the terrorism and its aftermath. In response to the horrors and destruction in New York City and Washington, D C, the Santa Fe Art Institute is contributing to the support and normalization of life in America. The Santa Fe Art Institute is offering two to four week residencies in beautiful, quiet residence spaces with studios as respite for artists whose living spaces or studios have been compromised by the terrorism. The residencies are available during the fall and winter at no cost to the artists.

Please send a letter (and slides if possible) to The Santa Fe Art Institute, 1600 St Michaels Drive, Santa Fe, NM 87505, Or email to: info@SFAI.org

Longwood Cyber Studio is equipped with four NT networked pc workstations, Internet accessibility, software programs such as Microsoft Office 2000, the entire Adobe suite including Photoshop, Dreamweaver, Flash and Director, a flatbed scanner, zip drive and color printer. We would also like to offer access to our administrative office as regards your telephone and fax needs. While they are well aware that access to computer and office equipment only offers relief of a material nature, they hope that relief may help to assuage some of the worries of those affected by this loss. Bronx Council on the Arts again sends our sincere condolences and warmest thoughts.

Contact: Eddie Torres, Director, Longwood Arts Project, 965 Longwood Avenue, Bronx, NY 10459, Tel: 718-842-5659, Fax: 718-842-3933
E-mail: longwood@bronxarts.org
http://www.longwoodcyber.org

eric hill/perMUTATIONS
635 Scully St.
Fredericton, NB
E3B 1V3
Canada

perMUTATIONS
experimental sounds radio program
every Wednesday 11pm-1am Atlantic time
on CHSR-FM 97.9
or on RealAudio on the web: http://www.unb.ca/chsr enjoy!!!

Hello, �

My name is Vivian Glusman and I am the administrative associate of the Creativity Workshop, taught by master teachers Shelley Berc and Alejandro Fogel. �

The Creativity Workshop is a wonderful way to learn and travel. It's also a great opportunity for Professional Development that's inspiring and fun. �

Choose one of our 8 day/9 night workshop packages in Florence, Barcelona, Prague, or Dublin, starting at $1,550 including tuition and accommodations. We offer 3 University credits for only an additional $50 fee. �

You can save by sharing a double room or coming in a group of 2 or more. See below for more information on the workshops or go directly to our web site: www.creation-journey.com �

SUMMER CALENDAR 2005
Florence - July 9 - 18
Barcelona - July 19 - 28
Prague - July 28 - August 6
Dublin - August 6 - 15
Courses starting at $1,550 including tuition and accommodations �

Our exciting summer courses in Europe are designed to stimulate and develop your creativity by sparking inspiration, perception and playfulness. The courses are attended by people of all backgrounds, experiences, ages, and nationalities coming together in a relaxed and stimulating environment. The only requirements are curiosity about the creative process and a sense of playfulness. �

Whether you are in business, teaching, art, or science, our workshop can help you discover and nurture your particular way of expression and break through the fears and blocks that inhibit creative expression. Working with thousands of individuals, businesses, and institutions since 1993, the Creativity Workshop helps people believe in and develop their imagination through using a unique series of exercises in memoir, creative writing, visual arts, sense perception, brainstorming, and storytelling. Our concentration is on the process of creativity rather than the product. We emphasize the importance of play and the sharing of ideas to nurture creative growth. �

You can read more about the workshop below or go directly to our extensive informational site: www.creation-journey.com �

Regards,
Vivian Glusman
Administrative Associate
1-866-217-1980 (Toll-Free) or 1-212-922-1555
contact@creation-journey.com

Troika Ranch Live-I Workshops 2005 New York / USA
July 11-15 / July 18-22 2005

www.troikaranch.org/livei.html

First Week - Software / Sensors / Technology - July 11-15, 10am - 4pm
Second Week - Aesthetics and Creative Expression - July 18-22, 10am - 4pm

Application Deadline: Apr 15, 2005
Notification of Acceptance: Apr 22, 2005
Fees due to Troika Ranch by: May 15th, 2005

New York City based dance theater company Troika Ranch announces its annual Live-Interactive (Live-I) Workshop, an intensive seminar for artists and advanced students who want to explore the use of interactive computer technology in the creation and performance of dance, theater, installation, and related live artworks. The workshop will take place from July 11-22 in New York City. Application deadline for the workshop is April 15th, 2005.

Led by composer/media artist Mark Coniglio and choreographer Dawn Stoppiello, Artistic Co-Directors of Troika Ranch (www.troikaranch.org), the Live-I Workshop allows students to explore strategies and techniques for combining interactive digital media and live performance. Participants will learn to use software and hardware that links their gestures and vocalizations to interactively controlled video, sound, light and other digital media, leading to the creation of a short study over the course of the workshop. This hands on aspect will be complimented by an introduction to the aesthetic and compositional concerns that arise when using interactive digital tools, including critical discussions about how the technology itself shapes the form and content of an artwork.

Students will learn Isadora(r) (www.troikaranch.org/isadora.html as the pr