PdCon09/CALL FOR WORKS:

PdCon09 is the “Third International Puredata Convention”, to happen in São Paulo-Brazil/July 2009

EMAIL: <<pdcon09@estudiolivre.org>>

  NEWS (feb 15th):

– Online Submission procedure is opening on monday 16th!!!

– New Templates and Forms will be posted when the submission is opened!

– WE HAVE A NEW DEADLINE FOR THE SUBMISSION OF WORKS, MONDAY MARCH 15TH OF 2009!!!


 ABOUT THE EVENT:
Puredata, or just Pd <http://puredata.info/>, is an open source tool for multimedia programming. Because of its open source nature, much of its development result from a community effort of developers worldwide. Some centers do have more people engaged, like the places that held the two previous conventions.

the first convention took place in Graz, Austria, in 2004 http://puredata.info/community/projects/convention04/. The second happened in Montreal, Canada, in 2007 http://pure-data.ca/en/. It is a great satisfaction that we continue this event by bringing it to yet another continent, with the intent to promote the formation of an important group of developers locally. In fact, in may of 2008, we had a national convention in Brazil http://www.estudiolivre.org/tiki-index.php?page=Encontro%20PD, which followed the same format of the previous international conventions, and worked as a first gathering to organize this international event. The format includes the show of artistic works, academic works, discussion regarding the interests of the community, and diverse courses.

 CALL FOR WORKS VS. 2.5 (FEB 15TH)

  GENERAL CALL
We invite artists, producers, developers and further enthusiasts of the open source tool Puredata to send works and projects alike in the following categories:

A) Art Festival: (Art Installations, Concerts, Performances & Audiovisual Presentations).
B) Mini-Courses & Workshops.
C) Paper Sessions/Posters.
D) Round Tables & Discussions.

Applicants are invited to submit in multiple categories, especially if related (example: paper + artwork) – not that this will favor in the selection process.

Please note we are looking for a diverse collection of works, hence there might be a selection among several similar proposals (and more unique and original ones might have some advantage).

Let us know if you have an institution support that may cover travel expenses, we are looking for partnerships to help with funds.

The event will be held in Sao Paulo, Brazil, from July 19th to july 26th, 2009.

Possible (yet to be properly officialized) Locations & Partnerships:
– MIS, Sao Paulo’s Museum of Image & Sound.
– PUC, School of Multimedia & Design.
– SESC-SP, Sao Paulo.

Promotional Support:
– CCSL (FOSS Competence Center) http://ccsl.ime.usp.br/

WE HAVE A NEW DEADLINE FOR THE SUBMISSION OF WORKS: MONDAY MARCH 15TH OF 2009!!!

Acceptance notice: APRIL 10th, 2009!
Here is the address to send works & questions to: pdcon09@estudiolivre.org

Addresses of the Official webpage for news updates & more info:
http://convention.puredata.info
http://estudiolivre.org/pdcon09


  Proposals for the Art Festival:
Performances, Concerts, Audiovisual Presentations & Art Installations (audio And/Or Visual):
As it is the general concept of the event, we long for the discussion regarding the aesthetics and politics of Free / Open Source Software Culture & technology. In such context, we welcome all forms of works related to audio and/or visual, including real-time interactive works, improvisations, Live electronics/instrumental/electroacoustic mixes, Sound installations, Performances, Network art, Robotics, Software Art and Interdisciplinary works.

Demonstrations and General Info about Artistic works can be submitted online in Portuguese, Spanish, or English. Please, specify the necessary materials so we can do our best to provide them.

If language is a part of the artwork, the festival is open to any idiom, although subtitles in English should be provided when applicable.

We look for art installations that adopted Puredata in its development. Nevertheless, at the last extent, we are open for works realized under the context of Puredata (using puredata in some part of the process) as well as open source tools.

We are looking for partners to help us with tickets. Any suggestion is welcome.

Note for ART-INSTALLATIONS (Audio And/Or Visual):
In order to avoid dependence on travel funds from the event, it would be nice to have some works installed without the need for the artist(s) to be on-site. This also implies that such works should be technically simple.


  Call for Posters/Papers:
Abstracts and papers may be submitted in English. The works will be organized in categories depending on what we receive. At first, we contemplate a greater distinction into 3 categories: Technical, Artistic and Theoretical.

The topics are generally open to the usage of Puredata in interactive art production/research, the philosophy and social aspect of Free Open Source Culture, and scientific research. Some possible themes could include:

– Programming Puredata externals
– Puredata versus Max/MSP
– Puredata versus SuperCollider, CSound, Processing and alike
– Hacking Puredata
– Future Projections for Puredata
– Hacktivist culture
– OpenContent and Creative Commons versus Intellectual Property forms
– Finding an Art Historical context for Open-Source Software Art
– Sampling and Plunderphonics as artistic strategies
– Computer-Supported Cooperative Work
– Networking
– Live Coding
– Philosophy, Culture and Sociology of Open Source Software and Open Works
– Aesthetics of New Media/New Technology Art
– Using Puredata in Science/Research & Artistic Works: (Digital Signal Processing, Generative Works, Artificial Intelligence/Life & Computer-Aided Work in General, User Interfaces – Human computer interaction/Virtual reality interaction -, Realtime Performance, Auditory/Visual perception and cognition, Acoustics/Psychoacoustics Modeling, Sound Synthesis, Timbre & Sound Models, Biological and medical uses of Puredata.

And so on…

Check Submission of Works for Poster & Paper guidelines

If you wish to send a Poster, the limit is 4 pages, other works are limited to 6 pages.


 SUBMISSION OF WORKS:
Round Table and Discussions should be proposed on the puredata list:http://lists.puredata.info/listinfo/pd-list, to be discussed and decided upon previously by the community and participants in general.

The rest needs to be sent through our online system, with the provided Paper Template And Forms

The online submission is due to open on monday, Feb 16th of 2009, check http://convention.puredata.info for news and links. Questions about it must be sent to <figocris@gmail.com>.

Poster Guidelines: 120cm height x 90cm wide

Papers are limited to 6 pages and must be submitted as PDFs.

If you wish to send a Poster, please send a short Paper limited to 4 pages.

We are studying the possibility of publishing the works online (both papers & Posters) in digital/hypertextual format s well as in a printed version with DVD-ROM.

 
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http://convention.puredata.info
pdcon09@estudiolivre.org

Call for submissions

Volume 15, Number 1
Issue thematic title: The Sonic Image 
Date of Publication: December 2009
Publishers: Cambridge University Press
 
Issue co-ordinator: Simon Atkinson (satkinson@dmu.ac.uk)

 
What is the ‘image of sound’? How can the ‘sonic image’ be described and studied? This issue aims to explore the significance of the term for electroacoustic musics, as theoretical concept and phenomenon of experience. Although ideas of musical and sonic imagery appear (explicitly or implicitly) with some frequency within some musicians’ descriptions and discussions of their work, as well as within some music theoretical discourse, there has been little systematic elaboration of its nature or implications. In the context of long-standing more general debates regarding the nature of mental imagery, music, and more broadly, sound, have been significantly underrepresented. 
 
Questions of relevance include:
• Can the ‘sonic image’ act as a focus for future interdisciplinary research that might build bridges between the cognitive and the cultural regarding our experience of sound? 
• Does the term suggest approaches that might usefully locate musical practice with technology within broader experience, including media contexts where sound is recorded and reproduced? 
• In what ways might ‘sonic imagery’ reveal more about mental and cultural processes involved in listening and the formation of sense and meaning in contemporary musics? 
• Although musicians freely talk of the ‘musical imagination’, can this really exist independently of other modes? If not, what might this reveal to us regarding the fundamental nature of musical listening? 
Alternatively, some might argue that it is a ‘wrong concept’, something too dependent on thinking not concerned with the specifics of musical or aural experience, and tied up with excessive baggage of previous philosophical and cognitive discourse.
 
This issue of Organised Sound is intended as a catalyst for discussion, founded on the premise that the practices of electroacoustic music over recent decades may suggest important questions in this direction, as well as that its elaboration will require fundamentally interdisciplinary approaches. Papers are sought that deal with specific musical practices, genres or listening situations (e.g. acousmatic), that are based upon analyses of specific works or approaches, or that consider existing theoretical studies through the lens of this concept/phenomenon. Within the broad terrain of electroacoustic music studies, arguments might draw upon the perspectives of fields such as Music Perception, Music Psychology, Music Cognition, Neuroscience, Semiotics, Semantics, Phenomenology, Ecologically-informed theory, Aesthetics, Media and Cultural Studies, or the examination of the ontological status of sound recording and reproduction within electroacoustic music practices.
 
As always, 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 June 2009. 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 15/3 as well on the journal’s website.

 
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SUBMISSION DEADLINE: 15 June 2009
 
SUBMISSION FORMAT
 
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
 
http://journals.cambridge.org/action/displayMoreInfo?jid=OSO&type=ifc (and download the pdf)
 
Properly formatted email submissions and general queries should be sent to: os@dmu.ac.uk (not to the guest editor)
 
Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc. – normally max. 15’ sound files or 8’ movie files) should be submitted to:
 
  Prof. Leigh Landy
  Organised Sound
  Clephan Building
  De Montfort University
  Leicester LE1 9BH, UK.
 
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Kenneth Fields, Eduardo Miranda, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey, Margaret Schedel, Mary Simoni
 
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Call for Submissions:

Sommeil: A Concert for Sleep

In early April I will be reinterpreting the sleep concert experiment,
first created by Robert Rich ( http://robertrich.com/ ) in 1982, at a
well established gallery in New Orleans, Louisiana. I am doing so
with Rich’s permission and guidance. Sleep concerts as presented by
Rich are all night events in which the audience is asked to attend the
concert with a sleeping bag and pillow and to fall asleep while a
slowly unfolding sonic texture evolves over the course of the night
and into the morning. This concert will begin at 10 pm and end at 7
am with tea and breakfast.

Not merely a recreation of Rich’s original idea, Sommeil will be a
global reinterpretation of a performance type that addresses one of
the most basic functionalities of ambient sound, music by which to
sleep. One might call this sort of cultural reshuffling a conceptual
remix. In the spirit of remix and the Creative Commons movement, I am
looking for submissions of audio material for the concert. This is an
opportunity for artists from all parts of the globe to help shape the
next generation of sleep concerts. Experimedia Records has generously
agreed to release material submitted on its net label under a Creative
Commons license.

I am interested in the following: field recordings of natural and
man-made phenomena, unprocessed recordings of musical instruments,
drones, room ambience, strangely tuned string recordings and any other
sonic matter that will somehow enhance a glacially ambient landscape
of sleep music. All submissions should in some way be appropriate for
an audience that will be sleeping.

The concert will be 9 hours of uninterrupted music. All audio
submissions may be highly altered through various processors, looped,
rearranged algorithmically and otherwise manipulated through digital
means. Basically, I want to create a giant sleepy ambient mash up in
honor of one of the fathers of ambient music. It is also my hope that
this concert introduces the people of New Orleans to the incredibly
creative music of ambient and experimental artists that are
flourishing all over the world, often unbeknownst to the general
populace.

Release of the material will either be in a compilation of short
remixes or in large scale remixes from multiple audio sources. Your
material will be credited both at the concert in program notes and on
the release that Experimedia ( http://www.experimedia.net/ ) has
graciously agreed to publish. All releases will in some way reflect
how your sonic matter was presented at the live sleep concert.

I plan to blog extensively about this multifaceted
performance/collaboration. Please contact me personally at
barely.audible@gmail.com or by searching for Tanner Menard on
facebook. If you have any questions please feel free to contact me.
I would love to get to know everyone who contributes material and
would love to blog about the audio matter that you submit, previous or
future releases of your music and anything else that might help in
promoting your art.

The deadline for submissions is March 12th 2009.

Special thanks to Robert Rich ( http://robertrich.com ), Jeremy Bible
( http://jeremybible.com ), Experimedia ( http://www.experimedia.net
), Shawn Hall and Antenna ( http://www.antennagallery.org ) Gallery

To learn more about Robert Rich’s original sleep concert experiments
please visit
http://www.downloadplatform.com/album.php?album=164&Robert+Rich+Somnium

“The first hour or two will be slightly more active than the rest, but
soon the music will drop away into slow foggy textures and strange
ambient sounds. At low volumes, these textures can blend into your
acoustic environment, creating a sort of sonic dislocation, a
re-focusing of your perceptions. You can use the sound texture as a
way to focus your attention onto images that arise out of your
half-sleeping mind. In the transitions between sleep and wake,
hypnogogic images may become intensified and more vivid. You may also
become more aware of dreams, and you can observe the different layers
of perception as you teeter on the edge of consciousness”…Robert Rich

contact : Tanner Menard – barely.audible@gmail.com