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Call for Papers: 'fight'
M/C - Media and Culture

M/C - Media and Culture is calling for contributors to the 2003 issues of M/C JOurnal.

M/C is a crossover journal between the popular and the academic, and a blind- and peer-reviewed journal.

To see what M/C Journal is all about, check out our Website, which contains all the issues released so far, at http://www.media-culture.org.au/submission.html


Call for Papers: 'fight'

Countless histories, films, novels, and song lyrics are built around the all-powerful narrative device of the fight - very often the "timeless" fight between good and evil. How is such conflict depicted in the media - in fantasy (The Lord of the Rings, Harry Potter, Buffy, Xena, Star Wars), martial arts cinema (Crouching Tiger Hidden Dragon) or in war films (Black Hawk Down, Saving Private Ryan)? Just as this metaphor is used to urge us forward in the fight against terror, is the epic battle between good and evil beginning to dominate our screens (again)? And do our movie heroes still fight for love?

And how do contemporary crusaders from the left or right of politics go about fighting the good fight when the binary opposition between good and evil seems to melt away under scrutiny, and when it is becoming so difficult to determine just who the adversary is? Is it possible any longer to fight with honour and conviction? What about the fight against global poverty? Against AIDS? Against crime, drugs, and moral decay? The fight for women's rights or an end to racial discrimination? Or even the fight for family values?

And the fight has always been a form of entertainment - "going to the fight", over-the-top wrestling, big-ticket boxing events, martial arts as suburban family pastime, not to mention the mediated glory that was Ali, and the darker mixed messages of Fight Club. Other forms of sporting entertainment are organized by fight metaphors too - the football field is always a battlefield. Meanwhile, talkshow guests publicly fight with the ones they love, or relate the tales of fights they have won and lost with themselves: their battles with the bulge, with drugs, or with sex addiction - their inner fight between good and evil.

Length: 1500-2000 words & 2000-3000 if you want your work to be considered for the feature article (Rich Text Format Preferred) Issue Release Date: 26 February 2003

We look forward to hearing from you.

Application Date: 1/20/2003

Issue Editors: Jean Burgess, Joy McEntee, and Emma Nelms Email: fight@journal.media-culture.org.au








Public Art Opportunity - Request for Qualifications
Arlington County, Virginia
(Arlington VA)

Arlington County is embarking on a major renovation of its Water Pollution Control Plant, an advanced wastewater treatment facility serving the County's residential and commercial sectors. This project provides for an artist to join the project renovations team to impact aesthetic, functional and educational elements of the plant's design.

For more detailed information about this opportunity, visit: http://www.arlingtonarts.org/cultural_affairs/public_art.html

Application Date: 2/14/2003

Jennifer Riddell
Public Art Projects Curator
Arlington County
Cultural Affairs Division
2100 Clarendon Blvd., Suite 414
Arlington, VA 22201








Performance Research, Call for Contributions, deadline January 30, 2003

'Moving Bodies' Performance Research 8:4 (December 2003)
Issue Editors: Ric Allsopp & David Williams
'Moving Bodies ' will be the final issue of Performance Research, Vol.8, Nos.1-4 2003, which explores the body and the senses in performance in four related issues: 'On Voices', 'Bodiescapes', 'On Smell' and 'Moving Bodies'. The issue is jointly edited by Ric Allsopp, editor and co-founder of 'Performance Research', Dartington College of Arts, UK; and David Williams, Professor of Theatre, Dartington College of Arts, UK.

Deadlines are as follows:
Proposals: January 30th, 2003
Draft manuscripts: March 30th, 2003
Finalized material: May 15th, 2003
Publication Date: December 2003

Developing the practices and ideas addressed in 'Bodiescapes' (PR Vol.8, No.2) - which investigates the bodies of the performer and the spectator in, around and at performance - 'Moving Bodies' will direct its focus towards the field of dance and choreography, and investigate practices, strategies and contexts of bodies in movement.

The editors invite academics and practitioners working in the field to propose articles, interviews, documents, artist's pages or reviews that might consider: practices and technologies of improvised/ improvising bodies, of de-objectified bodies, of spatialised bodies, borderline bodies, resistant bodies, 'bodies without organs', volatile and multiple bodies, de/territorialised bodies, un/accommodated bodies, discontinuous bodies, ex-centric bodies, still bodies, invisible bodies, absent bodies, revenant bodies, grounded bodies [...]. Practices and technologies that destabilise or defamiliarise received modalities and economies of seeing and/as knowing, that amplify the sensorium and/or displace the visibility of dance and the location of its happening [...]. Transpositions and refashionings of bodies through the migrations of propositions for practice, the circuits and flows by means of which practices of dance travel and are translated in encounters with other bodies [...]. What kinds of moving bodies are (to be) practised in the wake of a century in which '... the synthetic abstractions of modernism and the dismemberments of the postmodern - rupture, fracture, suture, montage - have been achieved quite literally with the body, no mixed media, by the systematic brutes and torturers and the pieties of fundamentalism as well'. (Herbert Blau, 'The Eye of Prey', 1987)

The editors invite responses to previous contributions on related subjects published in Performance Research , and especially welcome proposals for textual and visual work that makes use of the resources of the page. We are interested in conventional academic papers, as well as performance scores and other documents; interviews, discussions, collaborations between artists and academics; critical review essays of performances and publications. ALL proposals, submissions and general enquiries should be sent direct to:
Linden Elmhirst - Administrative Assistant
Performance Research
Dartington College of Arts, Totnes,
Devon TQ9 7RD UK
tel. 0044 1803 862095
fax. 0044 1803 866053
email: performance-research@dartington.ac.uk
web: http://www.performance-research.net

Issue specific enquires should be directed to:
Ric Allsopp transomatic@orange.net or David Williams
d.williams@dartington.ac.uk
For complete guidelines please see:
http://www.performance-research.net/pages/guidelines.html

Performance Research is MAC based. Proposals will be accepted on hard copy, disk or by e-mail (Apple Works, MS-Word or RTF). Please DO NOT send images without prior agreement. Please note that submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere. By submitting a manuscript, the author(s) agree that the exclusive rights to reproduce and distribute the article have been given to Performance Research









Have you made a web page proposal for a project grant or show and have been rejected? If so I‚d like to link to your proposal page for a show on projects that never had a chance to actualize for one reason (money) or another (lack of resources, loss of interest, etc).
Please email your links to abelinkoln@hotmail.com

abe

http://www.linkoln.net








X MUSICAL RADIO WORKS CONTESTCDMC-RADIO CLÁSICAThe CDMC and Radio Clásica (RNE) are undertaking a series of radiophonic music productions, commissioning various composers in order to promote this type of composition. Within this line, a contest of ideas is called subject to the followingBASIS1The works will necessarily be pieces of radiophonic music, that is to say, whose most suitable means of production and diffusion is the radio. The works will not have been previously awarded nor emited.2Words, noises, music, electronic or radiophonic editings and other similar elements may be the base of the work.3The project may be in several languages or in only one, which should be Spanish. The use of language or voice may also be omitted.4To enter the contest it will not be possible to send accomplished works, but mere projects:: a written description of the work and of the elements that it will require, some excerpts as a model in cassette, CD or DAT, scores or frag!
ments of these, acoustical materials, etc. Any form or presentation will be admitted, provided that it makes possible to the Jury to appreciate the interest of the projected idea.5There is no age nor citizenship limit.6The deliveries should be made before the 15th March 2003 by any of the procedures allowed by the Administrative Procedure Act (such as registered mail, personal delivery, etc.) and they sholud be addressed to the Centro para la Difusión de la Música Contemporánea, Santa Isabel 52, 28012 Madrid, Spain.7There is no limit to the number of projects to be sent by each author.8The projects should arrive anonymously with an assumed name that will be reproduced on an enclosed closed envelope containing a photocopy of the DNI or passport and personal details of the author or authors. In the case of using texts by another author, his opportune permit must be accreditated.9A Jury appointed by the CDMC and Radio Clásica will choose on the project considered the !
most suitable. The decisions of the Jury are without appeal.10The selected project will be the object of a commission by the CDMC, endowed with 3.000 euro gross. This Commission will be considered as the Prize of the Contest and it is independent of the productions costs, wich will be assumed by Radio Clásica.11Radio Clásica will produce the work with the means that the radio itself will determine. For that purpose, in addition to the human and technical means of the Radio, the facilities of the Laboratorio de Informática y Electrónica Musical del CDMC (LIEM-CDMC) can also be used. The radio broadcasting will take place during the last term of 2003, although the premiere will be on the Festival Internacional de Música Contemporánea of Alicante (around September-October 2003). The project should be developed with enough time so that it may be produced and emitted on time.12By the simple act of participating, the competitors accept the terms of these Bases and the decisi!
on of the Jury.13The non-awarded projects will be available to their authors who can fetch them personally at the CDMC, previous identification of the assumed name, within the period of three months after the awarding is made public.14Once this period is over, the non-collected projects will be destroyed in order to preserve the anonimity or the Contest.