The Institution destroys original music creation #17 The major problem Eric Lyon with your submission request for your Cube Fest 2020 is that you are not considering the basic of what was done and what it is done in spatial music. You play with technology as spoiled child who imposes what "immersive music" has to be, not as it is: a composition tool to create a new musical form I named 40 years ago polytrajectophony for choreosonic music. Typical from American culture thinking they are "the best of the world" and all the others not Americans being their slaves to serve America. In fact it is the opposite. Americans copy and steal what was done by the others making believe that it was invented by Americans. It is the hatable American attitude. You use sound spatialization as a show off toy: what has to do Sun Ra's music with spatial audio technology he never used? Nothing. So, for what to make a 3D spatial sound projection with his movie with stereo file of his 1972's 'Space is the Place' with not much music in the film? For fun? For the spectacle (to impress audience)? For American glory? It sounds like that. It is why your spatial sound system is a (expensive and useless) toy, not a music creation tool. Spatial music has nothing to do with Afrobeat or "Afrofuturist immersive music" (sic) you made up (indeed the idea is poor) for this occasion! or Max/MSP, Pd, or SuperCollider (sic) that are just tools for sound uniformisation not dedicated for music's sounds spatialisation. Here in Europe, we, real artists composers of spatial music (we are so few!), do not work with imposed spatial format: we invent it with what is given to make sounds of music flying in space. Technology is fragile and it does not work as you want to make believe it works: to fool the ignorants. Several times, you ignored my appeals to work a music creation dedicated with your spatial sound system. Knowing that I am the initiator in 1979 of the spatial instrumental music with my first compositions as Cauchemar Atomic, Ludus Musicae Temporarium, Ourdission, etc., until now with my new (and first in music history) spatial instrumental album for domectic context: 'VIVRE l'espèce humaine' for electric guitars flying in octophonic box shape space; of course denied by Americans to keep a supremacy they do not deserve. You will also ignore that Les Guitares Volantes is the first electric strings spatial quartet in music history playing 4 spatialisators (one for each musician) with their electric guitar. As American, an American should invent it, not a French! You can deny it, but your behaviour, like those from all others, reveals the opposit. And I understand why you avoid to invite me to create spatial music with your spatial sound system: because it is a toy, that can fool the ignorants, but not the initiator of the spatial instrumental music. Mathius Shadow-Sky http://centrebombe.org // [NIME Community] Cube Fest Dec 16 at 10:42 PM Eric Lyon To: community@nime.org Greetings, Please consider submitting your immersive multichannel music to Cube Fest 2020. Detailed information here: https://icat.vt.edu/events/2020/cube-fest-2020---call-for-high-density-loudspeaker-array-music.html Submission deadline is February 15, 2020. Best wishes, // Cube Fest 2020 — August 20-23, 2020 Call for High-Density Loudspeaker Array Music https://icat.vt.edu/events/2020/cube-fest-2020---call-for-high-density-loudspeaker-array-music.html Cube Fest 2020 invites submissions for multi-channel spatial music created for concert presentation on high-density loudspeaker arrays (HDLAs). We prefer that works submitted in this category be exclusively for audio systems, with no video component. Live performance for HDLA systems, including interaction with acoustic or electro-acoustic instruments, and visual elements, including video projection, can be accommodated in some cases. Cube Fest 2020, while remaining open to the widest range of aesthetic possibilities, will bring a special focus to the theme of Afrofuturism in Immersive Music. As part of our programming, we will present a spatialized version of Sun Ra’s visionary Afrofuturist album “Space is the Place.” We encourage submissions that resonate with this year’s theme. Works will be accepted in two separate categories: HDLA Music for the Cube (134.4.2 channel system) HDLA Music for Perform Studio (24.4 channel system) Submission Requirements Please submit your work in one of the following formats: Higher Order Ambisonics (HOA) encoded sound file, with format specifications. Mono stems for submissions to the Sounds in Focus concert in the Perform Studio. We will consider works for programming in the Perform studio for 8-channel or more speakers. Mono stems for the 134.4.2 Cube HDLA. Note: this is the maximum channel submission format. We will consider works for the Cube with channel counts of 25 and higher. Generative code for Max/MSP, Pd, or SuperCollider, configured with instructions for performance in either the Cube or Perform Studio. We require a sampling rate of 48kHz for all submitted audio. In order to fully explore the musical capabilities of these systems, we encourage submissions across the broadest range of musical practices, with no stylistic limitations. All works submitted will be reviewed in multichannel form in either the Cube or the Perform Studio. Works will be evaluated in large part on the effectiveness of the spatial aspects of the work. Please submit your proposal by February 15, 2020.