Heiko Martens – Hans-Flesch-Gesellschaft | Forum für akustische Kunst

Radio Research Conference, Siena 2019

Heiko Martens — Fri, 05 Oct 2018 18:20:25 +0000

Radio Research Conference, Siena 2019

Save the Date: Hörspielforum 2018

Heiko Martens — Thu, 15 Mar 2018 13:50:42 +0000

Sehr geehrte Damen und Herren,

für Ihre persönliche Planung möchten wir Sie auf die 24. Ausgabe des Hörspielforums NRW hinweisen.

Die Arbeitskonferenz für Hörspielschaffende, kreative Hörspielmacher und dem Hörspiel nahestehende Berufsgruppen findet am ersten Oktoberwochenende dieses Jahres statt:

Vom 5.-7. Oktober 2018 im WDR Köln

Das Hörspielforum NRW ist eine Veranstaltung der Film- und Medienstiftung NRW, mit freundlicher Unterstützung des WDR.

Weitere Informationen in Kürze unter www.filmstiftung.de

Bei Fragen können Sie sich gerne an mich wenden.

Anke Morawe
Referentin Hörspielförderung
Tel. 0211-930500

Einladung Kölner Kongress „Erzählen in den Medien“

Heiko Martens — Tue, 06 Feb 2018 09:58:53 +0000

Sehr geehrte Deutschlandfunk-Hörerinnen und Hörer,

wir laden Sie ein zu unserem zweiten Kölner Kongress – einem internationalen Symposium über neue Erzähltheorien und -techniken im Radio, im Netz, in Podcasts, im Film, im Buch und in der Musik. Bei zwei Radio-Performances in unserem Kammermusiksaal erleben wir neues mediales Erzählen live. Unser Partner beim Kölner Kongress ist die KHM – Kunsthochschule für Medien Köln.

Die Einladung, das Programm und wichtige Informationen zum Kölner Kongress 2018 finden Sie im Anhang dieser Mail, auf koelner-kongress.de.

Wir freuen uns auf Ihre Teilnahme am zweiten Kölner Kongress im Deutschlandradio Funkhaus. Eine kurze Anmeldung an koelnerkongress@deutschlandfunk.de erleichtert uns die Planung.

Barbara Schäfer, Sabine Küchler und Wolfgang Schiller

Gesamtleitung Kölner Kongress

Abteilung Feature/ Hörspiel/ Hintergrund Kultur, Deutschlandfunk

CfP: Crosstown Traffic – Popular Music Theory and Practice

Heiko Martens — Thu, 01 Feb 2018 08:25:04 +0000

Call for Papers

IASPM/ARP/Dancecult/ISMMS Joint Conference – DEADLINE EXTENDED – 15 February 2018

Crosstown Traffic: Popular Music Theory and Practice

University of Huddersfield, UK

3rd-5th September 2018

This is a call for papers for a joint conference arranged by four organisations:

International Association for the Study of Popular Music UK & Ireland Branch (IASPM UK&I)
Association for the Study of the Art of Record Production (ASARP)
Dancecult: Electronic Dance Music Culture Research Network
International Society for Metal Music Studies (ISMMS)
Hosted by the University of Huddersfield, this event will combine the IASPM UK&I Biennial Conference, with the 13th Art of Record Production Conference (ARP), a conference of ISMMS, and feature the additional participation of Dancecult. The theme of the conference is Crosstown Traffic: Popular Music Studies Theory and Practice.

A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference will bring four such groups together, to exchange knowledge, collaborate, and to encourage crosstalk.

Proposals for presentations, discussion panels and posters are invited that are relevant to recent developments in any of the subject organisations, especially those that explore theory and/or practice. Applications are particularly welcomed that cut across the interests of those involved, and that explore:

two of more of: popular music studies; electronic dance music cultures, metal; or record production
musicians and researchers
music and its contexts
popular music theory and practice
practice based or practice led research
interdisciplinary approaches
interprofessional research
issues relating to identity or ethnicity
gender or sexuality studies that reach across boundaries
political developments affecting multiple contexts
music industry developments affecting wider musical or cultural contexts
technological mediation
performative or embodied understandings
Other innovative proposals are welcome that are related to, but not limited to:

popular music studies and/or practice
record production (interpreted in the broadest sense): the relationships between the production of recorded music and for example practice, business, education, gender and diversity
metal music, practice and cultures
electronic dance music and its cultures

Organising committee:

IASPM UK&I: Rupert Till

ARP: Katia Isakoff, Shara Rambarran

ISMMS: Karl Spracklen

Dancecult: Graham St. John; Ed Montano

University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett

Please email proposals stating whether you are offering either:

A session (a collection of 3 or 4 papers on a specific subject featuring presenters collected together by the proposer)
A paper (20 minutes followed by times questions)
A poster Including your name, a subject title, abstract (no more than 250 words), 3-5 keywords, institutional affiliation, email address and mobile phone number.

All presenters will need to be members of either IASPM, ASARP or ISMMS; you must state in your proposal which organisation you are a current member of, or which you intend to join before the conference.

Send your proposal to: CrosstownTrafficConference@hud .ac.uk

Deadline for Submissions: 15 February 2018

Huddersfield is in Northern England, close to Manchester and its airport, and near the M62 motorway. Accommodation will be available in student halls of residence nearby and local hotels/B’n’Bs. The conference fee will be £150 (full price) or £100 (concessions including students). It is anticipated a limited number of bursaries will be offered to support research student applications by IASPM UK&I.

Ausschreibung zum 9. Berliner Hörspielfestival

Heiko Martens — Wed, 31 Jan 2018 17:46:15 +0000

Nähere Informationen siehe:

http://berliner-hoerspielfestival.de/

New issue: Music, Sound and the Moving Image

Heiko Martens — Thu, 25 Jan 2018 10:21:43 +0000

*/Music, Sound, and the Moving Image Volume 11, Issue 2 /*

/Music, Sound, and the Moving Image/ is the first international scholarly journal devoted to the study of the interaction between music and sound in moving image media – film, television, music video, advertising, computer games, mixed-media installation, digital art, live cinema, et alia.

The above issue is now available online at: http://online.liverpooluniversitypress.co.uk/toc/msmi/11/2?ai=s4&ui=273v&af=T

You can keep up to date with the journal by clicking here to sign up to new issue alerts, and can learn more about the title at its website page here .

*Contents:*

The World Within the Home: Tracing the Sound in Satyajit Ray’s Films

Budhaditya Chattopadhyay

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Music for Murder, Machines, and Monsters: ‘Moat Farm Murder’, The Twilight Zone, and the CBS Stock Music Library

Reba A. Wissner

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How Does it Feel?: Scorsese Contemplates Art Through Music and Sound in Life Lessons

Ron Leone and Gabrielle R. Jaques

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Book Reviews

Ben Winters and Chris Letcher

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Contributors to Issue 11:2

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Index to Volume 11

Hörspielsommer – Wettbewerbe

Heiko Martens — Thu, 18 Jan 2018 11:33:20 +0000

Sehr geehrte Damen und Herren,

auch für das Jahr 2018 hat der Leipziger Hörspielsommer e. V. wieder seine Hörspiel- und Manuskriptwettbewerbe ausgeschrieben. Einsendeschluss für alle Wettbewerbe ist der 1. März 2018.

Der 16. Internationale Hörspielwettbewerb richtet sich an Hörspielnewcomer*innen, die bisher maximal drei Stücke publiziert haben und noch nicht professionell mit Radiosendern oder Verlagen zusammenarbeiten. Eingereicht werden können bis zu 45-minütige Stücke in Deutsch oder Englisch sowie in anderen Sprachen, soweit diese nicht für das Verständnis primär relevant sind.

Die besten Einsendungen werden im Juli 2018 auf Deutschlands größtem Hörspielfestival – dem Leipziger Hörspielsommer – präsentiert und die drei Siegerstücke prämiert. Diese werden anschließend bei MDR Kultur, dem Kulturpartner des Hörspielsommers, und auf dem freien Radiosender detektor.fm ausgestrahlt.

Der 3. Hörspielmanuskriptwettbewerb richtet sich an Autor*innen, die Texte für Hörspiele oder andere radiokünstlerische Produktionen schreiben. Eine Fachjury wählt aus allen Einsendungen die besten Manuskripte aus, die dann von Studierenden inszeniert und produziert werden. Auf dem 17. Leipziger Hörspielsommer 2019 werden die fertigen Hörspiele dann präsentiert und in den Kategorien „Bestes Manuskript“ und „Beste Umsetzung“ ausgezeichnet.

Alle Informationen zu den Wettbewerben finden Sie unter: hoerspielsommer.de/wettbewerbe

Wir würden uns sehr freuen, wenn Sie die Ausschreibungen der Wettbewerbe teilen oder direkt an relevante Zielgruppen und Projekte weiterleiten könnten.

Herzlichen Dank! Mit freundlichen Grüßen

Das Hörspielsommer-Team

i. A. Lukas Wortmann – Team Kommunikation (kommunikation@hoerspielsommer.de)

CfP: Stereo & Immersive Media 2018

Heiko Martens — Wed, 17 Jan 2018 13:50:13 +0000

/International Conference on Stereo & Immersive Media 2018/
*Universidade Lusófona, Lisbon — Portugal, *28— 30 June 2018

S&I Media 2018 early bird deadline has now been extended to Monday 29th January 2018!
//
The organizing committee invites scholars, researchers, artists, curators and archivists to submit a proposal for a paper presentation and/or an artistic project addressing one of the following themes:

1- Stereoscopic and Panoramic Photography;
2- Photography , Cinema and Sound Media Archaeologies;
3- Media Arts and Immersion;
4- Architecture, Virtual and Augmented Realities;
5- Urban Sound Devices: Telephones, Headphones, Speakers and Radio;
6- Sonic Art and New Technologies;
7- Photography and Performance: Intermedia Practices

Keynotes confirmed:

Denis Pellerin, Photographic Historian and Director of the London Stereoscopic Company;
Michael Pritchard, Photographic Historian and Chief Executive of the Royal Photographic Society;
Kim Timby, Independent Photographic Historian, Teacher at the École du Louvre and Curator for a private collection specialized in nineteenth-century travel photography;
Sabine Breitsameter, Teacher and Researcher in Sound and Media Culture at the Darmstadt University of Applied Sciences and Head of the Soundscape & Environmental Media Lab.

Abstracts should have between 200-300 words and should be submitted along with a short biography on the website https://easychair.org/conferences/?conf=simedia18
[When filling the title field in easychair, please indicate (within brackets) the number of one of the themes above that best suits your presentation.]

Art projects will be displayed in a special exhibition dedicated to stereo & immersive media in one of the conference venues. Please state in your proposal the materials provided and needed for the proper exhibition of the artwork. Photos or drawings to present your ideas are welcome. Send them to stereoimmersivemedia@ulusofona.pt identifying your submission number.

The official languages in the conference are English, Portuguese, and Spanish.
Applicants will have the opportunity to submit their papers for publishing to the /International Journal on Stereo & Immersive Media/.

Kolloquium & Ausstellung: Granular. The Material Properties Of Noise

Heiko Martens — Wed, 17 Jan 2018 13:49:02 +0000

The Project Space – University of Greenwich Stockwell Street Building
Performance and Colloquium: 26th/27th January 2018
Exhibition: 16th January – 3rd February 2018
An experiential investigation of noise as a granular entity, this combined exhibition and event explores processes of disintegration and reintegration – both as the mode of transference between states (whether physical or digital) and the means by which a thing starts or ceases to be.

Granular: The Material Properties of Noise is curated by David Waterworth, with works by Russell Duke, Jim Hobbs, Benjamin McDonnell, Antonio Roberts, David Ryan, Audrey Samson and Rob Smith.

Friday 26th January (7pm) A performance of Recitativo (2017) by David Ryan and ensemble will be held in association with the exhibition.

Saturday 27th January (10am – 5pm) Steve Kennedy will chair a colloquium that explores the themes of Granular, featuring contributions from many of the exhibiting artists plus Greg Hainge (Keynote); Jane Grant; Hannah Lammin; Charles Danby (with Rob Smith); and Cristina Grifone and Kelcy Davenport (with David Ryan). This event will be followed by a private viewing of the exhibition.

Tickets for the colloquium cost £10 (£5 for students) and are available via this link to our Eventbrite page.
Tickets include free access to the performance of “Recitativo”.
More details can be found on our website:

If you wish to attend the private view only from 5:30-730 pm on Saturday 27 Jan there is no requirement to book and access is free.

CfP: To Each Their Own Pop.

Heiko Martens — Wed, 17 Jan 2018 13:14:02 +0000

CfP: To Each Their Own Pop. Music, Cinema and Television in Europe in the Period of
the Youth Movements (1960-1979) (Einreichung bis 31.01.2018)
Edited by Alessandro Bratus, Massimo Locatelli and Miguel Mera
Cinéma&Cie – International Film Studies Journal
Deadline for abstract proposal: January 31, 2018
The scope of this issue is to gather papers related to a decisive period in the development of audiovisual media in
contemporary Europe: the 60’s and 70’s are linked with different patterns of economic growth and consumption
across different countries, but nevertheless related to the diffusion of television and the new technologies in the
record industry, from both the point of view of production and reproduction. Such changes determined the
emergence of new forms of expression, media aggregation and consumption behaviors with respect to the
past.
On the aesthetic front, the period witnessed the pluralisation of popular culture as it became increasingly
segmented in complex ways according to factors such as age, genre and social status, a phenomenon which led to
a broadening of the horizons, places and use of cultural products. This is the period that marked the advent of a
particularly complex relationship between pop, the popular and processes of generification, a relationship which
impacted significantly also on the overall organisation of the media system as a whole.
In terms of social aggregation, the identification of communities, especially among the young, became based
increasingly on participation in public events (whether political or cultural) which served as concrete manifestations
of the tension towards lifestyles and needs which moved increasingly away from traditional cultural affiliations
towards a broader, more transnational context. The more overtly political dimensions of the media output of the
period came into play, with particular emphasis on the modes of popularisation of the countercultural and avantgarde
trends typical of the era, foreshadowing their entering the cultural mainstream.
On the level of production and consumption of media technologies, the importance of such phenomena became
the starting point for media narratives that found fruition in genres such as the live recording and the concert film; at
the same time, the production of music specifically designed for other media became an established reality, with the
introduction to the market of specific products dedicated to film music or with close links to television and radio
broadcasts. In this sense there is a need for a more systematic approach to the historical and theoretical framework
which sets out, in particular, from questions relating to the sound artefact and its social-technological dimension, the
transformation of the soundscape, the change in the status of musicians, and media performance.
The special issue aims at being particularly open to comparative contributions which highlight both the
specific characteristics of the national contexts and the features that we might call the “mediatisation” of
contemporary culture. We wish to draw out and explore some of the tensions between notions of the underground
and mainstream, and the local, national, and international.
The essays can be focused on four specific points of intersection, with the aim of responding in full to the four main
research objectives of the issue:
• first and foremost, research into the industrial relationships between the various different sectors of national
and international media production in those years, through the cataloguing and close examination of
contractual conditions and, more generally, of the different formats used and of the sales, distribution and
marketing strategies employed. In this area, the role of the song, the disc and the singers will probably
prove pivotal, as the key to the trend towards the process of convergence on a single, easily recognisable
product to be promoted in parallel in the various distribution channels of the audiovisual market;
• secondly, there would seem to be a need to reconstruct the contribution and the professional expertise of
the authors and technicians who worked in the various sectors – directors who were active in both cinema
and television, composers who contributed to the diversification of the forms, as well as technicians and
sound mixers – so as to shed new light on them and on their activities and to reconstruct the network of
reciprocal relationships between them;
• thirdly, on the basis of the above, it will be possible to renew and update the study and analysis of the
audiovisual production of the period, reconstructing the intricate network of genres and authorial paths so
as to reach an understanding of the configuration of styles that mark the period concerned. The same logic
applies to the presence of parallel circuits of production, distribution and reception in the music and
audiovisual fields, with phenomena such as singer-songwriters, groups and mainstream production acting
as a counterpart to the production of songwriters, whether popular or in different genres;
• lastly, it will be possible to work in the light of the information that has emerged in the recent interdisciplinary
debate surrounding the detailed, chronological redefinition of the relationship between the
production chain of the audiovisual media industry and the music business. The field of music production
may be understood as the first step in the modernisation of the national community, which finds one of its
constitutive features not only in the mediatisation of cultural products (the possibility to reproduce both texts
and performance) and in the new model of artistic collaboration that emerged (the group as a collective,
creative entity), but also – and above all – in the new type of audience experience that was made possible
through the development of new environments for sound and, more generally, for other media.
Submission details
Contributors are asked to submit an abstract (300-500 words, 5 keywords, and 5 bibliographical references) and a
short biographical note (150 words) to italianway2pop@gmail.com AND submissions.cinemaetcie@gmail.com by
January 31, 2018.
All notifications of acceptance will be sent no later than February 15, 2018. After the notice of acceptance, 4,000-
word essays will then be required by May 30, 2018, then they will be subjected to peer review.