Cool War in Havana, Cuba
______Call for electronic sound works for ZÃ¨ppelin2015 - Dures Pedres Precioses
The sound projects festival Zeppelin2015::Dures pedres precioses (Hard Precious Stones) is devoted to reflection and encouragement of electroacoustic arts - those sound arts that at some point in his creative process, the use of electricity or electronics is essential.
Nico Note and Romeo Castellucci rehearsing the "Orestea".
PeÃ§a de Realidade Sonora Aumentada
Nova versÃ£o para quem nÃ£o consegue ir Ã bienal
Carrega nas localizaÃ§Ãµes e ouve as 11 composiÃ§Ãµes realizadas com as paisagens sonoras de Vila Nova de Cerveira.
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Usa, partilha, comenta na PÃ¡gina do Projecto
Robert Hewisonâs Future Tense 25 Years Later. New Article by Marc Garrett.
This article revisits Robert Hewisonâs book, Future Tense: A New Art For The Nineties,  published in 1990. The book focused on contemporary attitudes to art, architecture and design that manifested in what had come to be called the postmodern era. Earlier avant-gardes of collectives and groups such as Dada, Situationism, Fluxus and the Lettrists had incorporated new technologies and challenged the material values embraced by museums and traditional hierarchies in modern art and capitalist society. Hewison set out to discover the ways in which artists of the 80s contributed to a "critical culture" for the 90s.
In the 70s in the UK, art had a role to play in changing society, transforming relations to controlling production and critiquing the role of the establishment. Hewisonâs mission was to observe contemporary culture happening in the late 80s in Britain with an emphasis on the future. Even though there had been a massive evolution in culture; within and across the fields of music, art and theory, it was also a new dawn for capitalism as it morphed into what we now know as neoliberalism. By revisiting Hewison's book I hope to elucidate what the cultural shifts and differences in our art culture then and now are, and invite you the reader to reflect on what they mean to those of us engaging with and practicing across the fields of art, technology and social change today.
 Robert Hewison. Future Tense: A New Art for the Nineties. Methuen Publishing Ltd (31 May 1990).
ATA Grant / Advanced Technology Art / for artistic training and creation with advanced technologies.
Frequently Asked Questions
Below a list of frequently asked questions is detailed about ATA Award for artistic creation and training with advanced technologies.
1.- What is the timeline of the grantâs open call?
The open call of the ATA grant is divided into two stages: A first selection of authors and proposals that will receive specific training and assessment during a four-day seminar at the Eurecat headquarters in Barcelona and a second stage where a project will be selected to be carried out from among the participants of the seminar.
The time frame for presentation of applications is from the 14 of July until the 15 of September 2015.
The first selection of the committee will be made public before 30 September 2015.
The training course will take place in the first week of November. The artists will have until 15 December 2015 to present their definitive projects.
The Project selected for execution will be announced on 15 January 2016.
The resulting work must be completed within a maximum time frame of 6 months, that is, before 14 July 2016.
2.- How should I present my candidature?
You should present a CV and a brief description of the idea or the motivation for participating. This idea will be developed in the second stage. Send this information to ata-at-newartfoundation.org <http://ata-at-newartfoundation.org> Keep in mind that the evaluation committee will be made up of a representative of Eurecat, the Beep Electronic Art Collection, the NAF and those experts that the participating organizers find convenient to invite.
3.- What happens if I am selected for the first stage?
You will be invited to participate in the four-day seminar in Barcelona where you will receive training in concepts and methodology of research and production with advanced technologies as well as specific expert advice on the technology that you have chosen for your project.
4.- And after that?
You will have one month to refine, reformulate and amplify your initial proposal before the final evaluation and the selection of the project to receive the grant.
5.- And then?
If your project is selected you will have six months to develop the proposal and produce the work of art.
6.- Am I obliged to spend the six months at Eurecat?
Six months is the maximum time to develop the project and produce the work of art. It is not obligatory to be physically present at Eurecat but it is understood that it is a very good opportunity to get the most out of the infrastructure that the technological centre provides.
7.- What does the 20,000 â¬ contribution to production, assessment and R&D include?
Material, specialized assessment hours, laboratory hours, work space, use of machines and equipment. It is like a kind of bar tab that allows for the planning and production of an ambitious project. LaAgencia will continuously audit the project .
8.- Will I receive the 5,000 â¬ honorarium in cash?
Yes! (Discounting the quantity corresponding to taxation according to the legislation of the country where you pay tax.)
9.- And if I have more questions?
Email them to: infoata-at-newartfoundation.org <http://infoata-at-newartfoundation.org>
Anyone working in San Francisco?
11.-15.09.2015 in Hamburg
Postgraduate on Sound Creation | Sound Art Master | University of Barcelona
The SOUND CREATION POSTGRADUATE - MATERIALS AND TOOLS focuses on understanding the ideas and techniques required to articulate an art production proposal in the field of sound art, along with the technology needed to undertake it. It uses reference texts that address new ways of looking at (and hearing) sound, helping students to articulate new ideas fully contextualized within the framework of international contemporary art.
Professors : Josep CerdÃ (director, Sculpture and Sonic Objects), Josep Manuel Berenguer (coordinator, Psychoacoustics and Experimental Music), Carmen Pardo (Ethics and Aesthetics of Sound Art), Roc JimÃ©nez de Cisneros (Elements on Musical Generation), Ray Gallon (Radio Art), Carlos GÃ³mez (Soundscape Recording), Barbara Held (Sound Installation) and MartÃ RuÃz (Sculpture and Sonic Objects)
Pre-registration form 05/01/2015 to 09/22/2015
Registration from 09/22/2015 to 10/13/2015
Beginning of course 10/13/2015
End of course 04/02/2015
Academic programe :
firstname.lastname@example.org | email@example.com
This postgraduate can be followed independently or as a part of modules that configure The MASTER STUDIES IN SOUND ART OF UNIVERSITY OF BARCELONA (70 Credits ECTS) :
-POSTGRADUATE ON SOUND CREATION - MATERIALS AND TOOLS (30 credits ECTS, October - January)
-POSTGRADUATE ON SOUND DESING - PROJECTION AND ESPACE (30 crÃ¨dits ECTS, February - June)
-FINAL MASTER WORK (10 credits ECTS, next October - January)
The Master in Sound Art of University of Barcelona collaborates with Hangar.org, Santa MÃ²nica and Convent de Sant AgustÃ, that provide spaces and suport for public and academic activities of the Master, and Orquestra del Caos, that organizes The Zeppelin Sound Art Festival and Hangar Multifocal research activities, giving to students the chance to work and participate in experiences in programming and managing multiple microphone and loudspeaker environments.
My book "Instruments for New Music" will be published by University of California Press in November 2015. It will also be released as an open-access digital version available to anyone on the internet. Should be of interest to scholars of music, sound studies, media history, German studies, early 20th-century modernism, and techno-culture in general.