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Call for Contributions

18.3 — DIY | 18.4 — Notation | 19.3 — Light+Sound | 19.4 — Media-Specific

Article Formats

In addition to feature articles 1[1 . Key articles addressing the theme of the issue, typically 3000–8000 words. See, as an example, this 8400-word article.], brief texts 2[2 . Often having a more informal tone than in “feature” content and usually in the 1800–4000 word range. See this 3000-word article.] and interviews 3[3 . Length varies, but 2000–8000 words when transcribed would be the norm. See this 3150-word interview.], we welcome submissions of “Artist Galleries” — personal articles about the author’s own practice(s) 4[4 . These texts must be more substantial and interesting than a copy-paste biography and programme note and are usually 900–1500 words in length. See examples here and here, 1300 and 1100 words, respectively.] that feature a much higher proportion of audio, video and images to text than in other article formats.

eContact! 18.3 — DIY, Hacking, Repurposing

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James Hullick — Tappers (sound machines). Image © Leiko Manalang. [Click image to enlarge]

We are pleased to now invite submissions for an upcoming issue of eContact! on the topic of “DIY, Hacking, Repurposing” with a special concern for performance-oriented practices.

The DIY scene is a rich and diverse area with more and more intriguing and engaging projects and practices emerging each year. Offering an alternative to pre-fab commercial products, DIY practices celebrate the unique visions and needs of the individual artist.

In this issue of eContact! we would like to present some of these original voices through pieces about the people making up the community, about their instruments and artistic practice, about the philosophical intentions and ramifications of DIY practices and about the larger community of DIY practitioners in the sound / audio domain.

eContact! is a freely available online journal for electroacoustics published four times a year by the Canadian Electroacoustic Community (CEC).

Topics

We are particularly eager to receive contributions that correspond to or are related to the following list of suggested topics, but also invite potential contributors to propose their own topics and ideas!

Submission Process

Contributors must follow the Submission Guidelines for eContact! and, when preparing their work for submission to the journal, must use the article template available at the top of the Guidelines page.

Deadline: 15 September 2016
Publication: October 2016

While new and/or unpublished materials are preferred, reprints of previously published materials are also possible (eContact! will credit and link to the original publication).

Questions that are not answered here or on the Submission Guidelines page about contributing to eContact! or preparing your submission for the journal can be addressed to the Coordinating Editor, jef chippewa.

Media

The inclusion of audio and video support documentation, photos, technical diagrammes and sketches is strongly encouraged. Audio and video examples should be submitted in the highest quality possible.

Copyright

The author is responsible for securing all permissions and clearing any copyrights related to the submission, including, but not limited to, texts, audio and video recordings and images (figures, photographs, etc.).

eContact! 18.4 — Notation of Sonic Art and Digital Audio Practices

You can put 150 marks on a note but it still doesn't give all the information.
—Joan La Barbara, interviewed by Kalvos & Damian.

We are pleased to now invite submissions for an upcoming issue of eContact! on the topic of “Notation of Sonic Art and Digital Audio Practices,” with a special interest in critical evaluations and the problematics of standardization of graphic representation.

A plethora of new and/or experimental approaches to the notation of music or sound have been explored in the past century, resulting in a vast range of styles and types of representation of sound phenomena. In the electroacoustic (EA) domain in particular, not only the meaning of the symbols has evolved, the role and function of the notation itself has also greatly diversified. The notation must reflect as efficiently as possible its intention, whether encountered in a performance score, a listening score, a diffusion score or a mixing log.

For this issue of eContact!, we focus on notation specific to the digital domain, to electroacoustic (EA), sonic art and other such practices, with the goal of addressing issues that may indeed be present in the instrumental domain but that have particular relevance for some aspect of EA notation.

eContact! is a freely available online journal for electroacoustic practices published four times a year by the Canadian Electroacoustic Community (CEC).

Topics

We are particularly interested to welcome contributions that correspond to or are related to the following list of suggested topics, but also invite potential contributors to propose their own topics and ideas!

Submission Process

Contributors must follow the Submission Guidelines for eContact! and, when preparing their work for submission to the journal, must use the article template available at the top of the Guidelines page.

Deadline: 30 September 2016
Publication: October 2016

While new and/or unpublished materials are preferred, reprints of previously published materials are also possible (eContact! will credit and link to the original publication).

Questions that are not answered here or on the Submission Guidelines page about contributing to eContact! or preparing your submission for the journal can be addressed to the Coordinating Editor, jef chippewa.

Media

The inclusion of audio and video support documentation, photos, technical diagrammes and sketches is strongly encouraged. Audio and video examples should be submitted in the highest quality possible.

Copyright

The author is responsible for securing all permissions and clearing any copyrights related to the submission, including, but not limited to, texts, audio and video recordings and images (figures, photographs, etc.).

eContact! 19.3 — Light+Sound

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Nicolas Bernier’s Neon Wave Form (2016). Image © Nicolas Bernier. [Click image to enlarge]

The Canadian Electroacoustic Community (CEC) is now accepting submissions for an upcoming issue of eContact! exploring and presenting various practices that forge a link between sonic performance and light. We are pleased to announce Nicolas Bernier as Guest Editor for eContact! 19.3.

Light and the shadow that accompanies it have long been sources of fascination, whether for painters, architects or philosophers, or for children fleeing monsters. In recent years, this fascination with light has grown amongst sound artists (composers, performers, multidisciplinary artists, etc.). Motivated by the increasing accessibility of new technologies, these artists integrate luminosity within their artistic practices with surprising ease.

From the Ocular Harpsichord imagined by Louis Bertrand Castel in 1725 to Scriabin’s symphonic work for orchestra and clavier à lumières (Prometheus: The Poem of Fire) to Iannis Xenakis’ Polytopes through to contemporary audio-luminous experiments undertaken by Kurt Hentschlager, Matthijs Munnik, Nonotak, Robin Fox or Chris Salter… these are the types of relationships between Sound+Light that this issue of eContact! aims to “bring to light.”

eContact! is a freely available online journal for electroacoustic practices published four times a year by the Canadian Electroacoustic Community (CEC).

Composer and multidisciplinary artist Nicolas Bernier was awarded the prestigious Golden Nica in Digital Musics & Sound Art at the 2013 Prix Ars Electronica for his work frequencies (a).

Topics

We invite artists, authors and researchers to submit their article propositions dealing with, but by no means restricted to, the following issues:

Submission Process

Contributors must follow the Submission Guidelines for eContact! and, when preparing their work for submission to the journal, must use the article template available at the top of the Guidelines page.

Deadline: 31 December 2016
Publication: 15 February 2017

While new and/or unpublished materials are preferred, reprints of previously published materials are also possible (eContact! will credit and link to the original publication).

Questions that are not answered here or on the Submission Guidelines page about contributing to eContact! or preparing your submission for the journal can be addressed to the Coordinating Editor, jef chippewa.

Media

The inclusion of audio and video support documentation, photos, technical diagrammes and sketches is strongly encouraged. Audio and video examples should be submitted in the highest quality possible.

Copyright

The author is responsible for securing all permissions and clearing any copyrights related to the submission, including, but not limited to, texts, audio and video recordings and images (figures, photographs, etc.).

Guest Editor

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Nicolas Bernier. Image © Isabelle Gardner 2015. [Click image to enlarge]

Nicolas Bernier creates audiovisual performances and installations, musique concrète, live electronics improvisations and video art while also working with dance, theatre, moving images and within interdisciplinary contexts. In the midst of this eclecticism, his artistic concerns remain constant: the balance between the cerebral and the sensual, between organic sound sources and digital processing. Recipient of the prestigious Golden Nica at Prix Ars Electronica 2013 (Austria), his works have been presented in major events and venues such as SONAR (Spain), Mutek (Canada), DotMov Festival (Japan), ZKM (Germany), Transmediale (Germany) and LABoral (Spain). His sound compositions are widely published on the electronic music labels Crónica (Portugal), LINE (US), leerraum (Switzerland), Entr’acte (UK) and empreintes DIGITALes (Québec). He holds a PhD in sonic arts from the University of Huddersfield. He is a member of Perte de signal, a media arts research and development centre based in Montréal, and teaches in the Digital Music programme of the Université de Montréal.
http://www.nicolasbernier.com

eContact! 19.4 — Media-Specific Music

Jens Brand’s “G-Player”
Artists creating media-specific work might design their very own media: Jens Brand’s “G-Player” (2004) is able to locate the positions of all officially known satellites (at present approximately 2000) and simulate the orbit of a selected satellite around the Earth. Following the principle of a record player needle, the satellite scans the surface of the Earth, and translates the topography into sound like the grooves of a vinyl LP. The display shows the name and type of the selected satellite (military, weather or telecommunication, etc.), its altitude and the coordinates of its orbit on Earth (longitude and latitude). There is no other visualization of the continuous process. Image: Oliver Schwarz, © Jens Brand. [Click image to enlarge]

The Canadian Electroacoustic Community (CEC) is now accepting submissions for an upcoming issue of eContact!, the online journal for electroacoustics published four times a year by the CEC. eContact! 19.4 focuses on media-specific music and is supervised by Guest Editor Volker Straebel.

In its relation to music, the term “media” appears rather ambiguous. While often applied to means of storage, distribution and broadcast of sound, “media of music” might also refer to musical instruments, musicians, performances, cultures and traditions of the creation, performance and study of music. In short: everything that serves as a mediating reference to music as a “work” in the platonic sense, or a practice of music performance or reception.

In discussing “media-specific music,” we consider situations (practices, pieces) where the media of music in their qualities and limitations are addressed as a subject of æsthetic practice. Here, music resists translation into another media since its very essence is bound to its means of creation, performance or distribution. These close interdependencies shall become obvious through the contributions to issue 19.4 of eContact!

Submission Themes and Ideas

We invite scholars and artists to submit papers of research in this field or to propose written descriptions, audio or video documentations of their work, respectively. Areas to be addressed might include (and are by no means limited to):

Theory
General discussion of the term “media-specific music,” its theoretical background, its relevance to media (art) studies, musicology and sound studies, and its æsthetic implications.

Work for storage media
Fixed media compositions that are specifically tailored for or dependent on a given storage media, the latter’s qualities or limitations. The interdependence of piece and media is of particular interest.

Work for distribution media
Pieces addressing the specific qualities of a given means of distribution. The distribution media might include any storage media or broadcast, stream or online (on demand) format.

Work that transforms the recipient into a performer (i.e. work for media usage)
Pieces that address the usage of their media in such a way that they inevitably turn the recipient into a performer. This is not (!) meant in reference to traditional performance situations (i.e. turntablism, live tape manipulation, etc.) but rather to a new Hausmusik [house concert] where the recipients are confronted with their home stereo or mobile device.

Work that can’t be represented (media-resistant work)
Pieces or genres that resist the notion of representation via media of data storage or broadcast.

Work that addresses the situation of performance and/or perception
Pieces or genres that specifically address the situation of their performance and/or perception, thereby interpreting that situation as a mediation of the piece. This might include certain types of interactive systems.

Work that addresses the instrument / interface
Pieces that are specifically bound to a certain electronic instrument or interface (in the broadest sense), such that not only is the piece impossible to realize or perform by other means, but also, to a certain extent, the instrument or interface becomes the piece. This notion should make itself obvious as an integral aspect of the piece itself.

Submission Process

Contributors must follow the Submission Guidelines for eContact! and, when preparing their work for submission to the journal, must use the article template available at the top of the Guidelines page.

Submission deadline: 28 February 2017
Publication: 15 April 2017

While new and/or unpublished materials are preferred, reprints of previously published materials are also possible (eContact! will credit and link to the original publication).

Questions that are not answered here or on the Submission Guidelines page about contributing to eContact! or preparing your submission for the journal can be addressed to the Coordinating Editor, jef chippewa.

Media

The inclusion of audio and video support documentation, photos, technical diagrammes and sketches is strongly encouraged. Audio and video examples should be submitted in the highest quality possible.

Copyright

The author is responsible for securing all permissions and clearing any copyrights related to the submission, including, but not limited to, texts, audio and video recordings and images (figures, photographs, etc.).

Guest Editor

Volker Straebel is a musicologist focusing on electroacoustic music, the American and European avant-garde, intermedia, performance and sound art. He is director of the Electronic Music Studio at the Technische Universität Berlin and also lectures in the Sound Studies programme at Universität der Künste Berlin. He has realized and performed indeterminate works by John Cage and himself.
http://www.straebel.de

Conseil des arts du CanadaFondation SOCAN Foundation

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