11. February 2009 by admin.

You See It All

The elegance of the soaring structure, the beauty of the fine detail, the mystery of the hidden pattern, the insight of the novel perspective ­ you see it all. In your work, in your mind’s eye, on the computer screen or the lab bench, through a camera’s lens or an artist’s imagination ­ you see it all. Now show the rest of us and claim the recognition of the world.

For more information, see: http://www.nsf.gov/news/scivis
National Science Foundation
4201 Wilson Blvd.
Room 1245

Arlington, VA 22230
 

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11. February 2009 by admin.

Each summer there is funding available for interns that want to come to

the University of Southern California to work on various projects at the Institute for Creative

Technologies. This is particularly interesting for people interested in VR-related projects

http://ict.usc.edu/internships

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11. February 2009 by admin.

Rhizome is pleased to announce that the 2010 Commissions cycle is now
open. Founded in 2001, the Rhizome Commissions Program is designed to
support emerging artists with financial and institutional resources.
In the seventh year of funding for the Program, Rhizome will award
grants, with amounts ranging from $1000 to $5000, for the creation of
significant works of new media art. Artists who receive a commission
will also be invited to speak at Rhizome’s affiliate, the New Museum
of Contemporary Art, and to archive their work in the ArtBase, a
comprehensive online art collection.

Applications for will be accepted until midnight April 2, 2009.

To apply and for more information: http://www.rhizome.org/commissions

In the 2010 cycle, Rhizome will award nine grants total. Seven of
these will be selected by a jury and  two will be determined by
Rhizome’s membership through an open vote. Reflective of Rhizome’s
commitment to openness and community, this unique process encourages
dialogue among artists and participants and provides members with the
opportunity to survey the current field of practice.

Member voting will begin on April 6th.

Information on Rhizome membership is here:
http://rhizome.org/support/individual.php

The Rhizome Commissions program is supported, in part, by funds from
the Andy Warhol Foundation for the Visual Arts, the Jerome Foundation,
the New York City Department of Cultural Affairs, the New York State
Council on the Arts, a state agency, and the Rockefeller Foundation’s
NYC Cultural Innovation Fund. Additional support is provided by
generous individuals and Rhizome Members.

About Rhizome:
Rhizome is dedicated to the creation, presentation, preservation, and
critique of emerging artistic practices that engage technology.
Through open platforms for exchange and collaboration, our website
serves to encourage and expand the communities around these practices.
Our programs, many of which happen online, include commissions,
exhibitions, events, discussion, archives and portfolios. We support
artists working at the furthest reaches of technological
experimentation as well as those responding to the broader aesthetic
and political implications of new tools and media.

http://rhizome.org

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11. February 2009 by admin.

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 Œimage of sound¹? How can the Œsonic image¹ 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 musicians¹ 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 Œsonic image¹ 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 Œsonic imagery¹ 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 Œmusical imagination¹, 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 Œwrong concept¹, 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 ³Organised
Sound². 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 journal¹s website.

—

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. 15¹ sound files or
8¹ 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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