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DTSTART;VALUE=DATE:20240720
DTEND;VALUE=DATE:20240721
DTSTAMP:20240612T203735Z
CREATED:20240611T230712Z
LAST-MODIFIED:20240612T203735Z
UID:14483-1721433600-1721519999@improvisationinstitute.ca
SUMMARY:Improvising Care  - McGill/Montreal\, October 5–9\, 2024
DESCRIPTION:Improvising Care\nMcGill/Montreal\nOct 5-9\, 2024\n“In a democratic society art should be the location where everyone can witness the joy\, pleasure\, and power that emerges when there is freedom of expression….” bell hooks\, “Workers for Artistic freedom” \n“Healing can occur . . . when one’s inner experience is made manifest and accepted by others.” Pauline Oliveros\, Sonic Meditations \nRecent history\, from COVID through climate change\, massive displacements of people\, a worrying increase in various forms of totalitarianism\, unjust wars (are there any other kinds?) the rapid rise of neo-liberalism (one can easily multiply this list) has both placed a greater focus on\, and need for\, care\, and at the same time radically reduced the structures from which care often operates. As traditional institutions of care are denuded of resources\, and governments implement policies that make care simultaneously more difficult to enact\, yet that much more needed\, it is fair to say we are facing a crisis of care. How can art and artists implement care in their practices? How should society care for artists\, and artists for each other\, and how can art itself be a tool for care and how should artists interact with communities in caring ways? Given improvisation’s ability to creatively and imaginatively find ways to modify existing structures\, subvert norms and implement new forms of sociality\, do we perhaps now more than ever need to improvise new models of care? \nSome topics might include: \n– How can artists work ethically in community\, showing care for them? \n– What would a society that cares for its artists look like\, what policies and structures would be called for? \n– How can art itself both model care and implement care—how can art be used to care for ourselves and others? \n– How does putting care front and centre in artistic practice problematize a host of traditional assumptions about what art is and what it isn’t? \n– How can new technologies both be used to create new possibilities for care\, and themselves be the subjects of care? \nWe invite contributions addressing the topic of care and the arts\, with an emphasis on the improvisatory. Contributions can be varied\, traditional papers\, panels\, discussions\, performances\, mixed-media\, videos\, interventions—we place no limitations per se on what you might want to contribute\, except that the linkage with the theme should be clear\, and technically the contribution should not require excessive equipment\, set up\, staff\, etc. \nSome of this event will be dedicated to research and performance emerging out of the COST-Funded Toolkit of Care project (https://toolkitof.care). This pan-European project focuses on ways in which artists can model care\, enact principles of care in their artistic practices\, and create networks of mutual care. \nWe will be partnering with Art in the Margins’ Festival Flux Festival\, which will run concurrently\, affording us fun evening performances! \nTHIS CALL IS NOT DIRECTED ONLY TO ACADEMICS! We seek out contributions from community members/organizations\, independent artists and researchers\, or anyone with an interest in this topic. \nPlease send your proposal to: eric.lewis@mcgill.ca by July 20. Please put in the subject heading “improvising care”. Be clear about what you are proposing. If it involves other participants\, please name them with contact info. If you have particular tech needs/space needs be clear about them. Also let us know the length of time you ideally would need—flexibility here is helpful (e.g.\, 25-40 mins\, is better than just 40 mins!). Please limit proposals to one page. \nWhile we will endeavor to have all our spaces wheelchair accessible\, please let us know in your proposal if you have any particular needs with respect to access or adaptability (or anything else that will allow us to make the event as welcoming to you as possible!). \nThis event is a partnership between IICSI\, LUC\, Toolkitofcare\, and Arts in the Margins
URL:https://improvisationinstitute.ca/event/improvising-care-mcgill-montreal-october-5-9-2024/
CATEGORIES:CFPs
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DTSTART;VALUE=DATE:20240531
DTEND;VALUE=DATE:20240601
DTSTAMP:20240409T180117Z
CREATED:20240408T144153Z
LAST-MODIFIED:20240409T180117Z
UID:14429-1717113600-1717199999@improvisationinstitute.ca
SUMMARY:CFP - The 2024 Guelph Jazz Festival Colloquium\, "Sheets of Sound: Jazz\, Improvisation\, and Liner Notes"
DESCRIPTION:The International Institute for Critical Studies in Improvisation (IICSI)\, in partnership with the Guelph Jazz Festival and the University of Guelph\, invites proposals for presentations at our annual interdisciplinary international conference. The colloquium will take place September 11-13\, 2024\, as part of the 31st annual Guelph Jazz Festival. Featuring panel discussions\, debates\, performances\, workshops\, keynote presentations\, and critical conversations among researchers\, artists\, and audiences\, the colloquium fosters a spirit of collaborative\, boundary-defying inquiry and dialogue\, and an international exchange of cultural forms and knowledges. \nIn his liner notes for John Coltrane’s 1958 recording Soultrane\, jazz critic Ira Gitler famously coined the phrase “sheets of sound” to describe Coltrane’s unique style of improvisational playing. It’s an apt phrase not only for attempting to capture in writing the spirit and energy of Coltrane’s distinctive style\, but also for acting as a metaphoric descriptor for the very genre of liner notes. As an important part of the history of jazz and creative improvised music\, liner notes might themselves be considered as something akin to “sheets of sound” that have played a vital role in shaping our understanding of the music. \n“Part publication relations blitz\, part advertisement\, part advance directive for hipsters\, part forum for writers hoping to match chops with the musicians they adored\, liner notes accomplished several tasks at once” writes Timothy Gray in his essay on “Jazz Criticism and Liner Notes” in the recently published volume Jazz and American Culture. This year’s edition of The Guelph Jazz Festival Colloquium invites presentations\, prompts\, and creative responses that reflect on some of these tasks\, and that take up the question of what it means to use the liner note genre to write about jazz and creative improvised music. \nIn what ways have liner notes shaped the way the music is received? To what extent do liner notes contribute to the ways in which we negotiate and construct meaning about the music\, how we understand history\, how and why we listen? In what ways have digital dissemination and streaming services disrupted our notions of liner notes? And how has this shifted listener/audience understanding about their favourite artists? \nCiting the “far-out notes produced by Sun Ra\, John Coltrane\,” and others\, Daphne Brooks in her book Liner Notes for the Revolution explains that “liner notes hold out the possibility of operating as critical\, fictional\, or experimental works of writing in and of themselves. Conventional liner notes\,” she suggests\, “often walk a fine line between pedagogy and socialization\, between sociohistorical and cultural reportage and heuristic conditioning (here’s how and why to love the artist in question). The most ambitious notes strive toward the narrative realization\, or the narrative reimagining\, of a sonic collection of songs altogether.” What\, then\, does it mean to engage in a narrative realization or reimagining of music? What are some of the critical\, fictional\, conceptual\, or experimental forms and practices being advanced by writers of liner notes? What is it like to hear about the music from the artist’s perspective\, and how might this shape the listener’s sonic experience? What is the future of liner notes in an age dominated by the digital delivery and dissemination of music? Does writing liner notes constitute a lost art or is the practice enjoying a resurgence? In what ways do archived/archival forms of liner notes play into thinking and writing about jazz and creative improvised music today? And what roles do artwork\, design and layout play in the presentation and impact of liner notes and the reception of an album? \nWe invite presentations that address these (and other related) questions and concerns\, as well as creative work that takes up the conference prompts. We are particularly interested in interdisciplinary presentations that speak to both an academic audience and a general public. We also invite presenters to submit completed versions of their papers and presentations to our peer‐reviewed journal\, Critical Studies in Improvisation/Études critiques en improvisation (www.criticalimprov.com) for consideration. \nPlease send (500 word) proposals (for 15-minute delivery—alternate formats may also be considered) and a short bio by May 31\, 2024\, to Dr. Ajay Heble at jazzcoll@uoguelph.ca
URL:https://improvisationinstitute.ca/event/cfp-2024-gjfc-sheets-of-sound-jazz-improvisation-and-liner-notes/
CATEGORIES:CFPs
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DTSTART;VALUE=DATE:20230601
DTEND;VALUE=DATE:20230602
DTSTAMP:20230515T142313Z
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UID:13360-1685577600-1685663999@improvisationinstitute.ca
SUMMARY:CfP – Sound\, Meaning\, Education: CONVERSATIONS & improvisations
DESCRIPTION:Sound\, Meaning\, Education: CONVERSATIONS & improvisations\nUniversity of Guelph/IICSI\, October 20-22\, 2023\nProposal Deadline: June 1\, 2023 \nSME | CFP (Call for Proposals) \nSound\, Meaning\, Education (SME) invites researchers\, artists\, and/or teachers to submit proposals for an in-person conference to be held at the University of Guelph\, October 20-22\, 2023. The conference will gather all manner of curricular innovators to share research/scholarship\, pedagogical strategies\, narratives/stories\, performances\, and imaginings for the purpose of building infrastructures that support sound and meaning explorations within teaching and learning contexts. \nAs an organization\, SME responds to and is part of: 1) the sensory turn in the academy\, 2) recent technological and experiential shifts in how music and sound are created/heard/disseminated\, and 3) the re-orienting of human existences toward ecological resonance (SME Guiding Statement). The 2023 conference continues in these veins via a partnership with the International Institute for Critical Studies in Improvisation (IICSI) at the University of Guelph and will co-convene with the fourth annual Improvisation Festival (IF). As such\, the conference will emphasize improvisations\, as related to sound theory/research and pedagogical practice\, along with CONVERSATIONS\, as related to sound theory/research and pedagogical practice. To that end\, three session types comprise the conference schedule: research talks (15 min + 15 min Q&A)\, interactive workshops (60 min)\, and improvisational performances (60 min). Keynotes and guest artists are forthcoming. \nSME is\, by nature\, interdisciplinary. As such\, we encourage proposals/projects of all methodologies; please be specific in that regard. Proposal topics include\, but are not limited to: \n\nPedagogical encounters in/with sound and improvisation thereof. (PK-16\, community-based programs\, etc.) \nCreative and critical intersections between sound\, music\, improvisation and education.\nEcological/relational impacts of human engagements with sound/music.\nSensuous scholarship and phenomenological studies centered around sound\, improvisation\, and pedagogy.\nEmbodied and cognitive processes with sound/music.\nSound/music narratives and narrative inquiries in music/sound learning contexts.\nMulti-sensorial engagements with sound/music as related to inclusivity and disability studies\, and/or other areas of inquiry.\nSocial and political structures that inform and constitute sound/music experience and sound/music pedagogies.\nPhilosophy of sound and music as related to technology\, identity\, the environment\, and/or education.\n\nProposals should include the following: \n\nProposal type: Research Talk\, Interactive Workshop\, or Improvisational Performance\n500-word summary (PDF)\n100-word bio (PDF)\nOptionally\, one additional media file may be submitted for workshop and performance proposals\nTechnical requirements\, if any\n\nSubmit to Jashen Edwards and Rebecca Rinsema at soundmeaningeducation@gmail.com by June 1\, 2023. \nProposals will be reviewed according to: \n\nObjectives or purposes as they relate to the conference theme(s)\nPerspective(s) and/or theoretical framework\nMethods\, techniques\, and/or modes of inquiry\nData sources\, evidence\, objects\, and/or materials\nResults and/or substantiated conclusions or warrants for arguments/point of view\nScientific\, scholarly\, artistic\, and/or pedagogical significance of the project
URL:https://improvisationinstitute.ca/event/cfp-sound-meaning-education/
LOCATION:online
CATEGORIES:CFPs
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