Toronto International Electroacoustic Symposium 2017

Call for Submissions / Appel à contribution

Toronto, 9–12 August 2017

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New Adventures in Sound Art (NAISA), the Canadian Electroacoustic Community (CEC) and the Canadian Music Centre (CMC) are pleased to announce the 11th edition of the Toronto International Electroacoustic Symposium (TIES), and delighted to welcome Québec sound artist Chantal Dumas as Keynote Speaker for TIES 2017. Dumas is a highly respected sound artist who explores the medium of sound through the production of audio fiction and docufiction, sound installation, composition and sound design.

The symposium will take place in Toronto from 9–12 August 2017 in Toronto’s Distillery District.

We are now inviting proposals for papers, lecture-recitals, special sessions of 2 to 4 panellists, compositions and performances to be presented at TIES 2017.

Submission deadline: 3 March 2017. [See submission details below]

TIES is a unique point of convergence for a growing international community of diverse electroacoustic (EA) practitioners. We look forward to seeing you at TIES 2017, where you can explore and share diverse perspectives on electroacoustic and sound art research and practice, while expanding your artistic and professional network.

[FR] New Adventures in Sound Art (NAISA), la Communauté électroacoustique canadienne (CEC) et le Centre de musique canadienne (CMC) sont heureux d’annoncer la tenue de la 11^e édition du Toronto International Electroacoustic Symposium (TIES), où ils auront le plaisir d’accueillir l’artiste sonore québécoise Chantal Dumas à titre de conférencière. Dumas est une artiste sonore reconnue qui explore le médium du son par la production de fiction audio et de docufiction, d’installation sonore, de composition et de conception sonore.

Le symposium se tiendra à Toronto du 9 au 12 août 2017 dans le Distillery District.

Nous acceptons dès maintenant des soumissions pour le symposium : présentations, compositions, performances, récitals commentés, tables rondes de 2 à 4 personnes.

Date limite pour les soumissions : 3 mars 2017 [voir ci-bas pour plus d’infos]

General Information / Informations générales

[ Download the call as PDF ]

The 2017 symposium is the eleventh annual iteration of this important opportunity for exchange between diverse EA communities. In recent years, a number of themes have emerged, among them: creative and collaborative practices, curation, research and analysis, algorithmic processes, videomusic and intermedia practices, electronic ensembles and live coding.

As in preceding years, the symposium leads directly into the main concert weekend of the annual Sound Travels Festival of Sound Art. This 19th edition of Sound Travels explores emerging trends alongside established traditions in electroacoustic music. At the heart of TIES 2017 will be a Keynote Lecture by Chantal Dumas, one of Sound Travels’ featured artists. TIES and Sound Travels events will be presented using NAISA’s real-time spatialization system.

All symposium contributions will be webcast live, and selected text proceedings will be published in a forthcoming issue of the CEC’s online journal for electroacoustics, eContact!

We look forward to seeing you, your colleagues, collaborators and students in Toronto in August!

Questions and requests for information not found in this document should be directed to the Symposium Chair).

Dates

• 3 March Deadline for receipt of proposals @ 11:59 PM EST
• mid April Notification of acceptance
• 9 August Symposium opening reception and concert
• 9–12 August Symposium sessions and concerts
• 11+12 August Sound Travels Festival concerts

Fees / Frais

• Symposium registration fees include admission to all concerts: General $70 / Student $40.

Submissions / Soumissions

For TIES 2017, we invite submissions for paper presentations, compositions / performances, lecture-recitals and special panel sessions [see below for details on format] that are related, but not limited to, the following topics (some of which are also found in eContact!, where TIES proceedings are published):

• Sound Art practices and perspectives
• Sound-based creation throughout 150 years of Canada
• Analogue and modular synthesis
• Live coding, laptop orchestra
• Pedagogical issues: teaching about “sound” and “listening”
• Experimental performance, DIY instruments, hardware hacking
• Intermedia, interactivity and media-specific practices
• Aural perception, psychoacoustics, hearing
• Sound and environment, acoustics and space
• Paradigm shifts in electroacoustic practices

Other topics that relate to some aspects of EA (in popular musics, media art, performance art and other sonic disciplines) are also welcome.

The following materials are to be submitted to the symposium’s Review Committee via the TIES submission page.

• Abstract (max. 300 words) for paper, lecture and special panel proposals
• Programme note (max. 150 words) for each work / performance submission
• Brief summaries (100–150 words) of the contributions of participating panellists
• Biography (max. 150 words) for each individual involved
• A complete stereo MP3 audio or H264 video representation for each work / performance submission
• Any additional documentation (scores, etc.)
• Technical requirements

Make sure to specify any and all technical requirements at the time of submission. A 16.1-channel system and single channel video projection are available for concerts and lecture-recitals; stereo playback and a projector are available for paper and special sessions.

Where live electronic and / or live performance elements are involved, it is expected that such elements will be provided by symposium participants.

Format of Presentations / Format des présentations

• Paper Presentations are limited to 20 minutes, followed by 10 minutes of questions / discussion.
• Special Panel Sessions will be programmed at the discretion of the committee according to the requirements and nature of the proposal.
• Lecture-Recitals are limited to 35-minute sessions, followed by 10 minutes of questions / discussion.
• Compositions and performances selected for programming will be presented in the TIES concerts.

Organisation

Review Committee / Comité de selection

• Kevin Austin (Concordia University)
• Christina Baade (McMaster University)
• Natasha Barrett (Oslo)
• Rose Bolton (Toronto)
• Sabine Breitsameter (Hochschule Darmstadt)
• Arne Eigenfeldt (Simon Fraser University)
• Ken Fields (University of Calgary)
• Elliott Fienberg (OCAD University)
• Emilie LeBel (University of Montana)
• Cort Lippe (University at Buffalo)
• Hilary Martin (York University)
• Christof Migone (Western University)
• Ellen Moffat (University of Saskatchewan)
• Gordon Monahan (Electric Eclectics)
• Steven Naylor (Acadia University)
• Laurie Radford (University of Calgary)
• Rebecca Simms (University of Toronto)
• Scott Smallwood (University of Alberta)
• Andrew Staniland (Memorial University)
• D. Andrew Stewart (University of Lethbridge)
• Jessica Thompson (University of Waterloo)
• Barry Truax (Simon Fraser University)
• Salome Voegelin (University of the Arts London)
• John Wynne (University of the Arts London)

Organising Committee / Comité d’organisation

Links / Liens

Submission Checklist

The following materials are to be submitted to the symposium’s Review Committee via the TIES submission page, according to the nature of the submission.

Make sure to specify any and all technical requirements at the time of submission [verify your submission with the technical checklist below]. A 16.1-channel system and HD video projection are available for concerts and lecture-recitals; stereo playback and a projector are available for paper and special sessions.

Where live electronic and / or live performance elements are involved, it is expected that such elements will be provided by symposium participants.

All Submissions

• Clearly name all attached files: LastName_FirstName_TitleKeyword.xxx
• Send only stereo (audio) files for the submission process.
• Submit files, do not send links to external sites!

Paper Presentations

• Abstract (max. 300 words), for the review process;
• Summary (max. 150 words), for the website and programme booklet;
• Biography (max. 150 words);
• Technical requirements.

Compositions / Performances

• Programme note (max. 150 words) for each submission, for the website and programme booklet;
• Biography (max. 150 words) for each individual involved;
• A complete stereo MP3 audio minimum 192 kbps or H264 video representation for each submission;
• Any additional documentation (scores, etc.);
• Technical requirements.

Lecture-Recitals

• Abstract (max. 300 words), for the review process;
• Programme note (max. 150 words) for each submission, for the website and programme booklet;
• Biography (max. 150 words);
• A complete stereo MP3 audio minimum 192 kbps or H264 video representation for each submission;
• Any additional documentation;
• Technical requirements.

Special Panel Sessions

• Abstract (max. 300 words), for the review process;
• Biography (max. 150 words) for each individual involved;
• Brief summaries (100–150 words) of the contributions of participating panellists;
• Technical requirements.

Technical Requirements Checklist for all Submissions

After approval of submissions, we will request full resolution and multi-channel performance files for fixed media playback.

For Performances and Lecture-Recitals

• Preferred location of media playback equipment: a) on stage; b) mix position.
• Type of fixed audio playback source: a) stereo; b) 5.1; c) 8.1; d) 16.0; e) other (please specify).
• Type of diffusion: a) live fader diffusion; b) pre-recorded or performed from your laptop source.

For Live Performances

• Specify instruments and other equipment required for each performer.
• Special staging requirements for performers (area of space, tables, stands, chairs, lighting, etc.).

Other

• Any other audio, video or staging requirements you might have.

Questions and requests for information not found in this document should be directed to the Symposium Chair.