Deriva (Drift) [C. XVIII; from French dérive] is the perpetuating movement that strides from the known to the unknown, to the absurd and basically, to the unplanned. This condition implies a linear tendency distancing from centrifugal historical events on one side and the centripetal ones on the other since it is generated by the problem observers themselves, in the attempt to find a positive solution.
The cultural Drift, in ethnology, is a transformation phenomenon induced by internal factors within the group and not influenced from the exterior. It is alike with the continuity of a tradition when there is no longer control and comparison, like a raft facing the ocean. If within this context we consider the “Universe-System” as a closed structure, Drift is entropy. In psychology Drift is meant as a moral and ethical connotation. The Drift is to disconfirm a prior decision making before its decline, collapse.
The Drift differs consistently from the concept of Transition as it is in default of the final reference point. It embodies the unpredictable, the undefined. The Drift could, from this point of view, be a particular type of exploration that eventually, after everything was built, planned, designed, it gets abandoned. It is left to itself. The abandoned landscape comes with a question that smells of drift.
In the light of these reflections, VacuaMoenia suggests to musicians and composers an investigation that may lead to novelty considerations and findings on the theme of “Drift” in the world of Arts. How to represent the Drift topic through the electro-acoustic compositional medium? What practices, forms, strategies to adopt?
The compositions, after being selected by the jury on the basis of criteria of quality and relevance to the proposed opencall, will be published for the portuguese label Crònica.
Aki Pasoulas is an electroacoustic composer, Director of Education and the Director of MAAST (Music and Audio Arts Sound Theatre) at the University of Kent. He also taught at universities in London including City, Middlesex, and the University of the Arts, and he holds a PhD on timescale perception in electroacoustic music. His research interests include acousmatic music, time perception in relation to music, psychoacoustics and sound perception, spatial sound, acoustic communication, and soundscape ecology especially in relation to listening psychology. He has written for instruments, found objects, voice, recorded and electronic sound, composed music for the theatre and for short animation films, and initiated and performed with many ensembles. He has organised major events and conferences on acousmatic music and acoustic ecology. His scholarly and music works are published through EMI/KPM, ICMA, Sonos Localia, Cambridge University Press and Oxford University Press. Aki received honourable mentions at international competitions, and his music is continuously selected and performed at key events worldwide.
LINK – www.aki-pasoulas.co.uk
Francesco Giomi is a composer and sound director, he collaborated with Luciano Berio and other important composers, interpreters and directors as well as with Italian and foreign orchestras and ensembles; since 2014 he collaborates with the choreographer Simona Bertozzi. He teaches electroacoustic music composition at the Bologna Conservatory of Music and is director of the Tempo Reale research center in Florence.
LINK – temporeale.it
Miguel Carvalhais is a designer, musician, and assistant professor at the Faculty of Fine Arts of the University of Porto. He studies computational systems and their use in creative practices with these, having dedicated his PhD research to the subject and later published a book on the topic, “Artificial Aesthetics”. His research and artistic practice explore how computational and procedural systems are read by humans, and how procedural discovery and interpretation are paramount for the creation of meaning and the aesthetic experience. These have led him to focus on fields such as the legibility of processes, philosophy of computation, artificial creativity, emergence, serendipity, ethics, artificial intelligence, legible AI and the right to explanation. He collaborates with Pedro Tudela since 2000 in the @c project, having published more than twenty albums, composed music for audiovisuals and theatre, performed extensively, and created several site-specific sound installations. Since 2003 he runs the Crónica label for experimental music and sound art. Since 2013 he has helped to run the xCoAx conference on Computation, Communication, Aesthetics and X.
LINK – carvalhais.org
• Works concerning soundscape, acousmatics, field recording and electroacoustic composition
• Inside the zipped file, insert
◦ a PDF (following this scheme: artist name – soundwork name – year) with name and surname, short bio, link to website, soundcloud, etc. and name of the soundwork, lenght and all important infos.
◦ an audio file of the work (for selection only. It must be stereo, 44.1kHz / 16bit).
• Use Dropbox, GoogleDrive or similar to upload your zipped file. ALL LINKS HAVE TO BE ACCESSIBLE UNTIL 31st DECEMBER 2019.
• Fill out the application form providing the required links to your work.
• Maximum lenght is 20 minutes.
• A non-refundable entry fee of 20,00 € (twenty/00 euros) per submission is required.
• It is possible to apply with only ONE soundwork.
• The material must be previously unpublished.
• Candidates should correctly complete the online form in all its parts.
By signing the registration form, the participant accepts unconditionally and thoroughly this regulation. The artist holds ownership of sent work but he grants to Ass.Cult.VacuaMœnia the right to use it at no charge for communication and promotion porposes. By participating to this opencall, the artist attests the originality of the works.
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