Lauren Rosati
Works in New York United States of America

BIO
Conceived in 2006, ((audience)) is an unprecedented project that explores the cinema as a 21st century concert hall. It is dedicated to the advancement of aural arts by providing wide distribution and new contexts for works by emerging and established sound artists and composers. For our first decade, ((audience)) will focus on the cinema as a technical and distributive platform, organizing a biennial nomadic art festival in partnership with select arts organizations worldwide. For more information, please visit http://au.dience.org
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OPPORTUNITY

Call for Works: "Cinema in the Dark" program to be screened in India


Deadline:
Sun Sep 02, 2012 23:59

Location:
India

CALL FOR WORKS
"Cinema in the dark" program to be screened in India in Feb. 2013

Deadline: September 2, 2012

BACKGROUND

Conceived in 2006, ((audience)) is dedicated to the advancement of aural arts by providing wide distribution and new contexts for works by emerging and established sound artists and composers. The centerpiece of ((audience)) is an unprecedented project that explores the cinema as a 21st century concert hall: a selection of 5.1 surround sound art works by international artists presented in movie theaters as "cinema in the dark."

((audience)) has been invited by Khoj International Artists' Association to produce a "cinema in the dark" program in conjunction with the Khoj 25th Anniversary Celebration and the 2013 Indian Art Fair. The program will be screened in a major Delhi movie theater in February 2013.

SUBMISSION GUIDELINES
((audience)) seeks 5.1 surround sound art works or stereo works that directly represent the unique soundscapes -- urban, rural and media-based -- of the Indian subcontinent. We are particularly interested in audio compositions that emphasize spatial experimentation and/or treat cinema as a unique format for storytelling and the organization of time.

Submitted works should relate to one of two themes: "Soundscapes" and/or "Bollywood in the Dark." "Soundscapes" is open to international and Indian artists. Works in this category may have any subject or organizing conceit but must use field recordings from the Indian subcontinent (India, Pakistan, Bangladesh, Nepal, Sri Lanka, etc.) as their source material. Shorts (5-15 minutes) or feature-length (20-90 minutes) works may be submitted.

"Bollywood in the Dark" is open to international artists, though preference will be given to Indian artists. Works in this category may be narrative sound films; playful reflections on Bollywood tropes and clichés; critical experiments with Bollywood musical context; or new musical compositions built from samples of popular film. Shorts (5-15 minutes) or Feature-length (30-70 minutes) works may be submitted. Only one feature will be selected.

Selected 5.1 surround sound art works will be presented in a completely dark cinema environment without visual accompaniment as part of the Khoj International Artists' Association's 25th Anniversary celebration. Selected stereo works will be presented in a related side program over the radio at a date to be announced.

Artist fees will be determined in September 2012.

SUBMISSION INSTRUCTIONS

Please fill out our online submission form by clicking on the link below.


Once we receive your submission form, we will send you an invitation via email to access our secure Dropbox submission folder. Once you receive that information, log-in and submit all materials in an archived folder (.zip, .rar, or .tar.gz) labeled with your full name. Depending on the type of submission, you should submit your audio as a stereo file, or as a wav or playable surround sound DVD disc image. For more information, contact us at curators [at] au.dience [dot] org.

ACCEPTABLE SUBMISSION FORMATS
(1) A playable DVD (disc image) with the surround sound mix
(2) Multiple mono .wav files (four files for quad OR six files for 5.1)
(3) A stereo .wav or .mp3 file

We recommend 24bit/48khz bit depth/rate for .wav files.


OPPORTUNITY

The Status of Sound: Writing Histories of Sonic Art


Deadline:
Wed Aug 15, 2012 23:59

The Status of Sound: Writing Histories of Sonic Art
CALL FOR PAPERS / Due August 15, 2012
Notification: September 1, 2012

Is “sound art” defined more by the medium of sound or the context of art? It is with this deceptively simple question that we invite papers for The Status of Sound: Writing Histories of Sonic Art, an interdisciplinary conference on sound art and experimental music to be hosted at the Graduate Center, City University of New York on Friday, November 30, 2012, with Dr. Christoph Cox, Hampshire College, serving as the moderator for a roundtable of eminent scholars, composers, and artists including David Grubbs, Branden Joseph, and Marina Rosenfeld.

While the term “sound art” only came into being in the 1980s, sound in the visual arts has a far longer history, ranging from Modernist experiments with synesthesia to the avant-garde exploits of Dada and Futurism. Sound art also has a distinctly musical heritage, emerging from the compositional experiments of John Cage, Tony Conrad, La Monte Young, Maryanne Amacher, and Pauline Oliveros, among others. Rather than attempting to link “sound art” to a particular history, how can one frame a history that is informed by both experiments in art and sound together? The aim of this conference is to use historical and contemporary instances of sound in the visual arts to consider new theoretical and methodological models for writing histories of sonic art.

· How do we define “sound art”? What are its parameters and boundaries?

· What is the difference between sound art and music, or is that difference simply determined by context?

· How does sound as medium challenge or change the visual basis of art history? What does the sonic provide in opposition to the visual? How does it relate to the audience/viewer?

· Are the existing frameworks of synesthesia and phenomenology merely a way for pictorial and sculptural conventions to be applied to sound as medium? Are these frameworks still tenable, or do new approaches need to be conceived?

· What modes of exhibition are appropriate for sound art works, and how can one address the contextual problems that arise when curating audio?

· How does sound pressure disciplinary boundaries, and how might this be productive?

Papers that probe interdisciplinary explorations of sound and music in the arts; theoretical frameworks for sound art (such as phenomenological, perceptual and gestalt theories); and historical moments in avant-garde audio culture are also welcome.

To submit a proposal, please send an abstract of approx. 300 words, a CV, and complete contact information to lrosati [at] gc.cuny.edu by August 15, 2012.

This program is supported in part by the John Rewald Endowment of the Ph.D. Program in Art History at the Graduate Center, CUNY.


OPPORTUNITY

((audience)) -- Call for 5.1 Surround Sound Works for ((audience11))


Deadline:
Sun Sep 05, 2010 00:00

SUBMIT TO ((AUDIENCE)) 2011
Deadline: September 5, 2010

((audience)) is a biennial festival of 5.1 surround sound works to be played in movie theaters worldwide. We are now accepting submissions for the 2011 / 2012 festival. Selected works will be presented in a completely dark cinema environment without visual accompaniment.

NEW WORKS
((audience11)) will be presented in a cinema hall in the dark. We are interested in narrative or musical works that play with the traditional idea of cinematic surround sound, and in works that emphasize temporal, narrative or spatial experimentation. We are also interested in audio experimentation by film industry artists, engineers, Foley artists, and other craftspersons.

HISTORIC
((audience11)) also aims to use the space of the cinema hall to present works of 20th century New Music and Sound Art to new audiences. Please contact Alexis Bhagat at alexis@au.dience.org if you would like to submit historic works for consideration, or to arrange a studio visit.

PLEASE download the submission instructions for information on how to submit by visiting http://au.dience.org/?/submit/submit/

For more information, please visit http://au.dience.org or contact us at curators@au.dience.org.


OPPORTUNITY

((audience)) -- Call for 5.1 Surround Sound Works


Deadline:
Sun Aug 15, 2010 00:00

SUBMIT TO UNSOUND FESTIVAL 2011
Deadline: August 15, 2010

BASIC INFORMATION
((audience)) has been invited to participate in Unsound, a festival of experimental music and sound art. Founded in 2003, Unsound is an annual event held in Krakow, Poland; in April 2011, the festival organizers will present the second annual Unsound festival in New York City at venues throughout the five boroughs.

Conceived in 2006, ((audience)) is an unprecedented project that explores the cinema as a 21st century concert hall. It is dedicated to the advancement of aural arts by providing wide distribution and new contexts for works by emerging and established sound artists and composers. The centerpiece of ((audience)) is a biennial program of 5.1 surround sound works by international artists intended for presentation in movie theaters as "cinema in the dark." This program travels to partnering organizations from Delhi, India to New York City — accompanied by curatorial lectures, performances, exhibitions and screenings on a city-by-city basis.

CALL FOR WORKS
((audience)) is issuing a special call for 5.1 surround sound works for the 2011 Unsound festival. Selected works will be presented in a completely dark cinema environment without visual accompaniment at the Walter Reade Theater / Film Society of Lincoln Center. Selected artists will receive a modest fee. (Fees to be determined in September.)

All works must relate to this year’s festival theme: “Horror - the Pleasure of Fear and Unease” (for example, one could submit a soundtrack to an imagined horror film; a radio play; a work dealing abstractly with the concept of horror, etc.) New works or newly contextualized works will be accepted. Artists currently located in Eastern Europe are encouraged to apply, and will receive special attention. We are especially interested in narrative or musical works that play with the traditional idea of cinematic surround sound, and/or with the concept of horror, and in works that emphasize temporal, narrative or spatial experimentation.

PLEASE download the submission instructions for information on how to submit, by visiting http://au.dience.org/?/submit/submit/