Welcome to the CEC
Canadian Electroacoustic Community (CEC)
For today’s electroacoustic artist, programming and writing code are by no means unfamiliar concepts. However, their exploitation as a malleable instrument in live performance has proven an engaging development in the past two decades. Alongside live coding practices, laptop ensemble and laptop orchestra (LOrk) configurations have been central to a reorientation of stage-based electroacoustic performance. (May 2022)
[EN] This year’s edition is held in collaboration with CMMAS — Centro Mexicano para la Música y las Artes Sonoras. The CEC has therefore opened the submissions beyond Canada to include young and/or emerging electroacoustic artists from or living in Latin America as well those from or living in Canada. Extended deadline for submissions: 10 July 2022 .
[ES] En este año la edición se realizará en colaboración con el CMMAS — Centro Mexicano para la Música y las Artes Sonoras. La CEC abre entonces sus oportunidades mas allá de Canadá para incluir artistas jóvenes y emergentes originarios o residentes en América Latina además de aquellos de Canadá. Fecha límite extendida: 10 de julio 2022.
Bulletin published six times a year to provide updates to members about the CEC’s activities. In this edition: JTTP 2022; eContact! 21.1 — Live coding, laptop ensembles and LOrks; AGM 2022; CAP to Sonus; eContact! (May 2022)
Call for Contributions
Submissions to the 2022 edition of JTTP will be accepted until 10 July 2022. JTTP supports and promotes new electroacoustic works from young and/or emerging electroacoustic artists. Videomusic and multi-channel works are also eligible. http://facebook.com/events/532568881419530
In contrast to works in which sound materials, gestural characteristics and musical or sonic structures are paramount, the “material” per se in some artists’ practice is rather the concept. This inescapably leads to unique works that in many cases demand a rethinking of listening paradigms and presentation formats. Deadline for submissions: 1 August 2022. http://facebook.com/events/3033306243591456
The seeming singularity of the term “sound art” (Klangkunst) is somewhat at odds with the incredibly diverse range of genres, æsthetic perspectives, techniques and media explored by artists in the field. Building on more than a century of practice, contemporary activities encompass sound sculpture, installation and performance, and more. Deadline for submissions: 1 December 2022. http://facebook.com/events/1025040915024178
Reflections on modes of presentation and experience of electroacoustic works and projects that are positioned outside or in a critical relation to the “traditional” — predominantly concert hall-oriented — fixed-media formats of acousmatic and similar practices. Deadline for submissions: 1 April 2023. http://facebook.com/events/1851760151881296
Open and ongoing call for contributions to the CEC’s electroacoustic Jukebox.
Bulletin published six times a year to provide updates to members about the CEC’s activities. In this edition: rerelease of eContact! 1.1 — Women in Electroacoustics 1; Board nominations; JTTP — a new residency component and a collaboration with CMMAS in 2022. (March 2022)
The inaugural issue of eContact!, published by the Canadian Electroacoustic Community (CEC) in 1998, shone the spotlight on then-current activities of several Canadian, American and European composers, performers, educators and researchers working in the international electroacoustic community. On the occasion of its 2022 reissue, we dedicate eContact! 1.1 to Andra McCartney (1955–2019), and Hannah Bosma contributes a Foreword. (March 1998, 8 March 2022)
Bulletin published six times a year to provide updates to members about the CEC’s activities. In this edition: funding news; upcoming eContact! issues; JTTP 2022. (February 2022)
Bulletin published six times a year to provide updates to members about the CEC’s activities. In this edition: the CEC’s 2020–2024 Strategic Plan; eContact! publication schedule; JTTP 2021; membership dues. (January 2022)
Recent works by young and/or emerging composers and sound artists from or living in Canada are featured in the 22nd edition of Jeu de temps / Times Play, coordinated annually by the CEC since 2000. (October 2021)
- eContact! 21.2 — Conceptual Approaches to Sound-Based Artistic Practices [CALL for Contributions]
- eContact! 22.1 — Sound Art [CALL]
- eContact! 22.2 — Alternative Presentation Formats for Electroacoustic Practices [CALL]
- eContact! 23.1 — Sound Installation [CALL]
- eContact! 23.2 —Sound-Based Artistic Practices Outside the Western World [CALL]