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>From: John Young <[log in to unmask]>
>To: "[log in to unmask]" <[log in to unmask]>
>Subject: call for submissions Organised Sound 9/3
>Date: Tue, 2 Dec 2003 10:00:56 -0000
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>Organised Sound: An International Journal of Music and Technology
>
>Call for articles and works
>
>Volume 9, Number 3
>Issue thematic title: Collaboration and Intermedia
>Date of Publication: December 2004
>Publishers: Cambridge University Press
>
>Issue Co-ordinators: Margaret Schedel [[log in to unmask]], and John P. Young
>[[log in to unmask]]. This issue is being prepared in collaboration with the
>International Computer Music Association (ICMA).
>
>Collaboration and Intermedia
>
>Working with other artists or across sensory disciplines offers challenges
>and rewards very different from those encountered working in isolation or in
>a single art form. Crosstalk between artists or between fields is quickly
>growing in popularity as artists seek to expand their immersive capability
>and engage audiences in multiple dimensions. Arts funding organisations and
>promoters as well as universities are also actively encouraging
>interdisciplinary collaboration, especially those involving new
>technologies. Many artists enjoy working with others, while some find that
>sharing creative control can be a frustrating experience. The competing
>visions of several strong personalities can certainly lead to conflict, but
>can also result in works that transcend the imagination of any single
>creator. The process of resolving disputes, of being forced to think in new,
>mutually compatible directions, is an inherent part of the collaborative
>adventure. This journey often inspires both the finished work and the
>artists themselves, as dialogue and enhanced perspective ideally lead to
>holistic resolution. Alternately, when an artist works across media
>independently, the final result may be similar to a collaborative artwork,
>but the process is very different, with the primary difficulty being a
>balanced expertise in each medium. However, adherence to a personal vision
>can achieve equally profound results, as an intermedia artist seizes the
>opportunity for multifaceted expression and strives for a more persuasively
>realized creative reality. Every story is different, as we learn new
>artistic languages or translate between them for the benefit of expanding
>our understanding or communicating our ideas to others in the act of
>collectively shaping a world. Collaboration and intermedia reflect a
>perspective that art is life, an endeavor of community, relationships, and
>interconnected ecology that form a complete artistic landscape without edges
>or ownership.
>
>The theme is a broad one with many avenues for discussion including, but not
>limited to:
>
>               Musical collaboration
>               Interdisciplinary collaboration
>               Intermedia work such as:
>                 music and video
>                 music and dance
>                 music and theatre
>                 music and fine arts
>                 music and architecture
>                 music and language
>               Collaborative installations / performances
>               Interdisciplinary research
>               Gesamtkunstwerk
>               Aesthetics of collaboration
>               Interdisciplinary communication
>               History / analysis of intermedia works
>               Distributed composition / performance
>               Web and multimedia sonification
>
>This issue continues the annual partnership between Organised Sound and the
>International Computer Music Association, with previous themes including
>"Interactivity" and "Performing with Technology." The ICMA has long been
>dedicated to bringing together researchers, composers, and performers to
>chart the frontiers of music and technology. Computer music has
>traditionally encouraged, and often demanded, that individuals share
>specialized skills in pursuit of a unified vision. In the ongoing
>convergence of digital media, as technological barriers separating
>disciplines continue to diminish, the territories of artistic collaboration
>and intermedia flourish with increasing creative energy. With this issue we
>hope to showcase the synergistic potential of working together and/or
>integrating multiple media to produce collaborative musical compositions or
>interdisciplinary art.
>
>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 5 April 2004. Submissions may consist of papers,
>with optional supporting short compositions or excerpts, and/or audio-visual
>documentation of performances.  Supporting audio and audio-visual material
>will be presented as part of the journal's annual CD-ROM which will appear
>with issue 9/3. Related discussion will be located on the ICMA Array
>website, www.computermusic.org/array.php, and additional multimedia material
>at Organised Sound's Cambridge University Press website.
>
>---
>
>SUBMISSION DEADLINE: 5 April 2004
>
>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/
>
>Hard copy of articles and other material should be submitted to:
>
>    The Editors
>    Organised Sound
>    Clephan Building
>    De Montfort University
>    Leicester LE1 9BH, UK.
>
>Email submissions should be sent to (please see SUBMISSION FORMAT above):
>[log in to unmask]
>
>Editor: Leigh Landy ([log in to unmask])
>Associate Editors: Ross Kirk and Richard Orton
>Regional Editors: Cort Lippe, Eduardo Miranda, Shimoda Nobuhisa, 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, Tony Myatt, Miller
>Puckette,
>    Jean-Claude Risset, Francis Rumsey
>
>=====

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