[MWS]: Call for submissions - Organised Sound 9/3: Collaboration and Intermedia

[Leigh Landy]

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 [gem at schedel.net], and John P. Young
[sound at netmuse.org]. 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 Sound¹s Cambridge University Press website.

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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):
os at dmu.ac.uk

Editor: Leigh Landy (llandy at dmu.ac.uk)
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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