Fwd: Call for contributions - Organised Sound 10/3


Subject: Fwd: Call for contributions - Organised Sound 10/3
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Wed Oct 06 2004 - 10:15:44 EDT


Date: Wed, 06 Oct 2004 10:59:02 +0100
From: Leigh Landy <llandy@DMU.AC.UK>
Subject: Call for contributions - Organised Sound 10/3

Organised Sound: An International Journal of Music and Technology

Call for articles and works

Volume 10, Number 3
Issue thematic title: Networked Music
Date of Publication: December 2005
Publishers: Cambridge University Press

Issue Co-ordinators: Margaret Schedel [gem@schedel.net] and John P.
Young [sound@netmuse.org]. This issue is being prepared in
collaboration with the International Computer Music Association
(ICMA).

Theme: Networked Music

Interconnection has always been a fundamental principle of music,
prompting experimental artists to explore the implications of linking
their computers together long before the Internet reached the public
consciousness.

As the Internet achieved critical mass over the past decade,
networking technology took center stage as the key to a vast new
territory of possibility, facilitating remote participation,
distributed processing, and redefinition of musical space and time.
The Web emerged as a virtual venue for countless musical purposes,
and as analog acoustics transformed to digital representations,
packets of data carried by IP from one address to another became a
modern metaphor for air molecules transmitting the tone of vibrating
body to eardrum.

As with any new technology, applications of networking to music have
evolved from naïve proofs-of-concept to more sophisticated projects,
and we stand now at a point when Œinternetworking¹ is taken for
granted, novelty is expiring and artistic goals more often transcend
technical considerations.

From this vantage, the essential question is not how networking and
music are combined, but why. What is the unique experience that can
be created? Whose role can be empowered or transformed: composer,
performer, audience? Where can sound come alive that it couldn¹t
otherwise? Networked music can reinterpret traditional perspectives
on stagecraft, ensemble, improvisation, instrumentation, and
collaboration, or enable otherwise impractical relationships between
controllers, sensors, processors, inputs, and outputs. The network
can be an interface, a medium, an amplifier, a microphone, a mirror,
a conduit, a cloud, or a heartbeat.

The network is all of us. Music is the sound we make. Listen...

The theme represents many avenues for discussion including, but not limited
to:

    Networked control interfaces (hardware / software)
    Sensor arrays / interaction
    Distributed / remote participation (composition, performance,
reception)
    Broadcasting / multicasting / streaming media
    Virtual musical environments / venues
    Aesthetics / philosophy of musical interconnection
    Web-based music projects
    OpenSoundControl
    Distance learning / education
    Online collaboration
    Networked data sonification
    Real-time remote sensing
    Distributed processing
    Networking for fault tolerance
    Musical avatars / agents / bots
    Emergent network phenomena / effects / behavior
    Neural networks
    Internet2
    Alternative musical networks (RF, MIDI, WiFi, Bluetooth, etc.)
    Strategies for mitigating network limitations (bandwidth, latency,
etc.)

This issue continues the annual partnership between Organised Sound
and theInternational Computer Music Association, with previous themes
including ŒPerforming with Technology¹ and ŒCollaboration and
Intermedia¹. In exploring these prior areas, networking has emerged
as a common element underlying a wide variety of innovative projects,
prompting a more focused look at the mutual influence between
networks and music.

This should be no surprise in the electroacoustic field, where our
machines are partners as much as tools, and working with other
artists or often even solo requires connection between multiple
machines. In the pre-network era, technical obstacles frequently
dictated that much computer music occurred in relative isolation,
with musicians expending precious attention acting as interpreters
between hardware and other humans. So in one sense, networked music
can be simply a recapitulation of acoustic music principles, of
listening and sensitivity to other performers and audience, by
enabling computers to participate equally in the musical conversation.

Networking can also radically alter these traditional principles,
most obviously by decoupling the spatial framework, enabling some or
all of the participants to act and perceive without being physically
present. Thus networked music is fertile territory for the composers,
performers, and researchers that comprise the ICMA as both a
potential means of overcoming challenging limitations of technology,
as well as presenting new possibilities we have yet to imagine.

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 1 March 2005. 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. Supporting audio and audio-visual
material will be presented as part of the journal's annual DVD-ROM
which will appear with issue 10/3. Related discussion will be located
on the ICMA Array website, www.computermusic.org/array.php, and
additional multimedia at Organised Sound¹s Cambridge University
Press website.

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SUBMISSION DEADLINE: 1 March 2005

SUBMISSION FORMAT

Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or from:

http://uk.cambridge.org/journals/oso/

Email submissions should be sent to (please see SUBMISSION FORMAT above): os@dmu.ac.uk

Hard copy of articles (only when requested) and other material (e.g., images, sound and audio-visual files, etc.) 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

ICMA Representative: Mary Simoni International Editorial Board: Marc Battier, Laurant Bayle, Hannah Bosma, Allesandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Rosemary Mountain, Tony Myatt, Jean-Claude Risset, Francis Rumsey

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