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Organised Sound:International Journal of Music and Technology
Untitled Document A Volume 9, Number 3 Issue thematic title: Collaboration and Intermedia Date of Publication: December 2004 Publishers: Cambridge University Press

Issue Co-ordinators: Margaret Schedel [], and John P. Young []. This issue is being prepared in collaboration with the International Computer Music Association (ICMA).

Collaboration and Intermedia

Working with other artists or across sensory disciplines offers challenges and rewards very different from those encountered working in isolation or in a single art form. Crosstalk between artists or between fields is quickly growing in popularity as artists seek to expand their immersive capability and engage audiences in multiple dimensions. Arts funding organisations and promoters as well as universities are also actively encouraging interdisciplinary collaboration, especially those involving new technologies. Many artists enjoy working with others, while some find that sharing creative control can be a frustrating experience. The competing visions of several strong personalities can certainly lead to conflict, but can also result in works that transcend the imagination of any single creator. The process of resolving disputes, of being forced to think in new, mutually compatible directions, is an inherent part of the collaborative adventure. This journey often inspires both the finished work and the artists themselves, as dialogue and enhanced perspective ideally lead to holistic resolution. Alternately, when an artist works across media independently, the final result may be similar to a collaborative artwork, but the process is very different, with the primary difficulty being a balanced expertise in each medium. However, adherence to a personal vision can achieve equally profound results, as an intermedia artist seizes the opportunity for multifaceted expression and strives for a more persuasively realized creative reality. Every story is different, as we learn new artistic languages or translate between them for the benefit of expanding our understanding or communicating our ideas to others in the act of collectively shaping a world. Collaboration and intermedia reflect a perspective that art is life, an endeavor of community, relationships, and interconnected ecology that form a complete artistic landscape without edges or ownership.

The theme is a broad one with many avenues for discussion including, but not limited to:

Musical collaboration Interdisciplinary collaboration Intermedia work such as: music and video music and dance music and theatre music and fine arts music and architecture music and language Collaborative installations / performances Interdisciplinary research Gesamtkunstwerk Aesthetics of collaboration Interdisciplinary communication History / analysis of intermedia works Distributed composition / performance Web and multimedia sonification

This issue continues the annual partnership between Organised Sound and the International Computer Music Association, with previous themes including "Interactivity" and "Performing with Technology." The ICMA has long been dedicated to bringing together researchers, composers, and performers to chart the frontiers of music and technology. Computer music has traditionally encouraged, and often demanded, that individuals share specialized skills in pursuit of a unified vision. In the ongoing convergence of digital media, as technological barriers separating disciplines continue to diminish, the territories of artistic collaboration and intermedia flourish with increasing creative energy. With this issue we hope to showcase the synergistic potential of working together and/or integrating multiple media to produce collaborative musical compositions or interdisciplinary art.

We invite submissions from composers, performers, artists and researchers working in the realm of digital media and sound. Submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.

Deadline for submissions is 5 April 2004. Submissions may consist of papers, with optional supporting short compositions or excerpts, and/or audio-visual documentation of performances. Supporting audio and audio-visual material will be presented as part of the journal's annual CD-ROM which will appear with issue 9/3. Related discussion will be located on the ICMA Array website,, and additional multimedia material at Organised Sound's Cambridge University Press website.




Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or from:

Hard copy of articles and other material should be submitted to:

The Editors Organised Sound Clephan Building De Montfort University Leicester LE1 9BH, UK.

Email submissions should be sent to (please see SUBMISSION FORMAT above):

Editor: Leigh Landy ( Associate Editors: Ross Kirk and Richard Orton Regional Editors: Cort Lippe, Eduardo Miranda, Shimoda Nobuhisa, Jøran Rudi, Barry Truax, Ian Whalley, David Worrall ICMA Representative: Mary Simoni International Editorial Board: Marc Battier, Laurant Bayle, Hannah Bosma, Allesandro Cipriani, Simon Emmerson, Rajmil Fischman, David Howard, Tony Myatt, Miller Puckette, Jean-Claude Risset, Francis Rumsey




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