News from the Sonic Arts Network

People Like Us DVD
Story Without End

Sonic Arts Network proudly presents a collection of short films by leading British AV artist People Like Us, a true champion of a particularly English sense of humour. The DVD shows a journey though a multi-layered 20th Century, represented by bright eyed and enthusiastic images of the modern world, concluding with the new Sonic Arts Network commission 'Story Without End'.

Buy the DVD here...

Free CDs
Sonic Arts Network are currently looking for writers of reviews and articles for Diffusion.

Dozens of the latest CD releases arrive at the SAN office each month for review and we need more people to help us get information about them to our members and yes, you get FREE CDS!

Maybe you would be keen to write a concert or conference review of an event in your local area, or maybe write an article on a sonic art issue or artist that you feel strongly about?

If this makes you think, “Yes, I could do that”, then email

Please include your postal address, a list of your top 5 sonic art related releases to help us pick out something suitable for you. For Diffusion we ask that you produce around 500 words for a CD or gig review and 1000 words for an article.

Get to it! International journalistic careers have been launched on far less!

And Finally...

Pat Misterovich is a stay-at-home dad with a one-person company. Last summer he had a thought, "Wouldn't it be cool if there was an MP3 player that looked like a PEZ dispenser?" Fast forward a year and it is here. The PEZ MP3 player.

Misterovich notes “If you like the idea of a stay-at-home dad, working out of his basement, taking on the giants of Cupertino, Tokyo, and Seoul... If you love independent music, podcasts, blogs, maverick ideas, and doing it yourself... This is the MP3 player for you.”


November 05
Various, Aberdeen
Contemporary music festival in North East Scotland with the aim of presenting an eclectic but broad range of contemporary music to a large and varied public.  Events will include concerts, workshops and electroacoustic installations featuring artists and composers including Evelyn Glennie, Paul Anderson, the Edinburgh Quartet, Haflidi Hallgrimsson, the Hebrides Ensemble, mckenzie medbøe, Naresh Sohal, Pete Stollery and many others.

1 - 5 November
LMC Annual Festival of Experimental Music
Bridewell Theatre, Bride Lane, London

Improv focused festival featuring AMM with David Jackman + Ivan Seal (1/11); Richard Chartier + Gross/Fages/Guthrie + Carol Finer (2/11); Trio Sowari + Dieb 13 + Steve Beresford (3/11) Tisha Mukarji + Xavier Charles + Louisa Martin (4/11) Mazen Karbaj + Mattin + John Tilbury (5/11) plus each night Rhodri Davies will realise a new work with an ensemble assembled specially for the Festival, "Common Object".

3-13 November 2005
Found Footage
(film festival)
Leeds Central Library, The Headrow, Leeds

Everything from home movies to Hollywood features, newsreels to early cinema, are cut-up, pulled apart and re-contextualised to create new meanings, stories and relationships. Through short films, features and a unique live performance, different approaches to the use of found material will be explored including a unique audio-visual performance by People Like Us.

5 November – 15 January
Playing John Cage
Arnolfini, 16 Narrow Quay, Bristol

Featuring new commissions and installations by Alvin Curran, Ryoji Ikeda, Rolf Julius, Tagaki Masakatsu, Kaffe Matthews, Carsten Nicolai, Akio Suzuki and Michael Prime. It also presents works by Gavin Bryars, Michael Parsons, Mieko Shiomi and Christian Wolff as well as by Cage himself. Audible mushrooms, sonic furniture and a new take on Cage’s fascination with Kyoto’s most famous Zen garden. This exhibition explores the legacy of John Cage’s ideas on contemporary music, art and sound.

5 November
Playing John Cage Live
Arnolfini, 16 Narrow Quay, Bristol

A concert to mark the opening of the exhibition Playing John Cage. Featuring performances by a number of the artists involved in the exhibition including Alvin Curran, Kaffe Matthews, Akio Suzuki, Michael Prime and David Toop. There will also be performances of works by Cage, Feldman, Wolff, Satie and Lucier by Philip Thomas, piano and Anton Lukoszevieze, cello.

9 November
(live performances)
Charterhouse Bar, London

International line-up with a live appearance by Slovakian artist Octex, Hawaiian guitarist Mike Cooper flyinging in from Italy whilst AM/PM makes it in from Switzerland. Jonathan from Soul Jazz Records will also air his vast record collection.

Until 13 November
Weather Guitar
Ikon Gallery, Birmingam

Simon Blackmore’s installation responds to variations in meteorological conditions. Monitoring changes in light conditions and wind speed and direction, a weather measuring system transmits this information to the guitar via a series of electronic circuits. Small motors, in turn, translate this into mechanical action, the strumming of the strings.

11 November
Stephan Mathieu & Janek Schaefer
Sir Jack Lyons Concert Hall, York

Debut concert of new album material from a collaboration between electroacoustic composer Stephan Mathieu and turntablist Janek Schaefer

11-13 November
Various, Glasgow

An event organised by members of, STFU is a 3 day festival of sounds, spread across 3 venues in Glasgow and will provide a platform for new music from both the UK and Europe. The event aims to showcase artists that are working under the broad umbrella of "alternative electronic" music.

11 - 12 November
Leeds International Music Technology Education Conference
Leeds College of Music, Leeds

The conference features Bob Katz, author of ‘Mastering Audio: The Art and the Science’ and recipient of three Grammy awards, as the Focal Press keynote speaker. Additional keynote speakers include Professor Allan Moore, Head of the Department of Music and Sound Recording at the University of Surrey; and pop producer Tim Speight.

12 November
Unsafe: Festival of improvised and experimental music
Lighthouse, Poole, Dorset

The day's activities will include two free, open, improvisation workshops for both traditional and electronic instruments, impromptu performance around the venue, a pre-concert seminar and original film collaborations. The evening (8 pm onwards) will feature a concert by Evan Parker.

17 November
(live performance/club)
Retro Bar, 78 Sackville Street, Manchester

A one night Micro-Fest featuring live music, performance artists, DJs, film, and installation. Featuring Finnish/Mancunian electro-stun-grenade Roger, psychedelic punk-folk from Robin Nature-Bold, Hi-Impact Karaoke doomblues with SwampThroat, woodpants balladeer Norman Clayture, outsider muscian John Calvert and the film Airports 2 by Scott Arford. Plus HIT DJs and a special guest remote set from WFMU’s Liz Berg.

18 November - 18 December
Her Noise
South London Gallery, SE5

Her Noise is a season of installations, events, performances and screenings by a wide network of artists whose practice involves the use of sound as a medium. Featuring work by Christina Kubisch, Kaffe Matthews, Kim Gordon with Jutta Koether, Emma Hedditch and Hayley Newman.


Artist Residency
Jack Straw Productions : Artists Residencies 2006
Seattle, WA, USA

Deadlines : Artist Support Program : November 4, 2020
New Media Gallery : November 4, 2020 | Writers Program : November 18, 2020

Jack Straw Productions (JSP) is the Northwest's only non-profit multidisciplinary audio arts centre. A community-based resource since 1962, we provide a production facility that is unlike any other in the region for local artists who work creatively with sound. Jack Straw focuses on annual artist residencies through our Artist Support Program, our Writers Program, and our Gallery Residency Program; art and technology education for all ages; arts heritage partnerships; and radio production. Our full-service recording studio is also available for a range of arts projects.

More information and applications:

4261 Roosevelt Way NE | Seattle, WA 98105-6999
Phone: (206) 634-0919
Fax: (206) 634-0925

Vacancy - Technician
De Montfort University, Leicester, UK.
Technician: Post Graduate Research Centres
Faculty of Humanities

The innovative and modern Faculty of Humanities is expanding due to a large growth in student numbers. We are expanding our research activities and are looking for dynamic and creative individuals to help take us forward.

£16,170 - £20,202 pa

An exciting and varied post working with research groups across the institution. You will possess a thorough knowledge of creative IT applications and computer systems as well as being a highly organised individual. You will also offer technical support to research students and staff - as well as maintenance of the facilities.

Preferably qualified to degree or HND standard (or equivalent) and having two years relevant experience within an educational or commercial environment, you will be familiar with a broad range of professional music and creative software.

Application forms and further details are available from:
The Human Resources Team
De Montfort University
The Gateway
Leicester LE1 9BH
Tel: 0116 250 6433 (24 hours answerphone)

To apply on line visit:

Please Quote Ref: 3860

Closing Date: 4th November 2005(TBC)

2006 Brunel Bicentenary Composition Competition
Brunel University Arts announce a competition for a new 12' work for solo cello with live electronic transformation, and string orchestra.

The new work will be performed by cellist Matthew Barley and the SouthBank Sinfonia, conducted by Peter Wiegold, on 28th September 2006, in London’s Cadogan Hall, and then recorded for Quartz Records.

How to enter:

Eligibility: Open to all ages and nationalities.

Composers are invited to send scores and/or CDs (3) of past work, and a proposal for this new piece, both musical and technical.

From these proposals, one composer will be selected to write the new work.

Closing date for material and proposals: Monday 16 January 2021
Winning composer to be notified by 1st February 2006
Work to be completed by 10th August 2006

Specified duration for new work: 12’

The judges for the competition will be Professor Peter Wiegold, international composer and conductor, Chair of Music Research at Brunel; composer Colin Riley, Subject Leader in Music, Brunel University; and distinguished cellist Matthew Barley, Associate Artist, Brunel University.

It is expected that the composer will work closely with Matthew Barley before the completion deadline, and that composers will already be familiar with the
relevant technology (probably MAX-msp).

Prize: There is no financial prize, but there will be full technical support, the opportunity to work with a leading soloist and very fine young orchestra in a prime London venue, and a commercial recording as part of a CD of new music for cello and electronics.

Materials and proposals should be sent to:
Jay Wilkinson, Director, The Arts Centre, Brunel University, Cleveland Road, Uxbridge, Middx UB8 3PH (with SAE if you wish to have them returned).

Further details from Brunel Arts on 01895 266074 or email

Call for Papers
International Cross-Disciplinary Conference
Architecture | Music | Acoustics

Toronto, Canada
June 8-10, 2006 (Abstracts due Oct 31, 2020)

In conjunction with the SoundaXis festival of music, acoustics and architecture, Ryerson University Department of Architectural Science is pleased to announce an international conference dedicated to a study of the same themes.

Among the critical fault-lines within architectural practice and discourse is that which privileges sight, conceiving of architecture as primarily a visual art form. Despite the multi-sensorial, embodied nature of our being in space, architectural discourse has been largely silent where senses other than the visual are impacted. This conference proposes to move outside the visual paradigm to investigate the relationships between architecture, music, and acoustics. These intermeshed relationships have tended to one extreme or the other: either sound is understood by architects instrumentally, as an element to be controlled if not eliminated, or music is understood by architects as a metaphorical structure needing to be translated to visual terms before becoming available to architecture. Indeed, one of the few works published in the last half-century on the relationship of architecture and music from within the architectural community is Pamphlet Architecture 16, edited by Elizabeth Martin, which takes as its title Architecture as a Translation of Music.

This conference sees itself as an updating of Martin's work, while starting from the premise that Architecture, Music, and Acoustics have real relationships not requiring translation between visual and sonic terms, and not limited by the instrumental. The conference will involve both historical and critical studies of these relationships, focusing on the strategies and techniques used by architects in dealing with sound and with ideas borrowed from music. The conference will encourage an active mode of engagement with sound in architectural design.

Abstract Requirements

Those wishing to present papers at this conference should submit a brief abstract, of no more than 300 words, by October 31, 2005. Abstracts are to be submitted under one of the following session themes:

I. Acoustic Ecology:how can understanding the acoustic ecology of structured environments foster an auditive culture?

II. Situated Sonic Practices: how does the practice of sound installation art foster new understandings of both sound and place, as well as of the relationships between the two?

III. Spaces for Performance: how have recent developments in the acoustics of performance spaces affected our understanding of the relationships between sound and space?

IV. Intersections of Music and Architecture: how can the interweaving of architecture and music through creative collaborations result in an enrichment of both disciplines?

V. The Poetics of Closure: how can a consideration of sound affect the design of spaces and buildings not specifically intended for performance? Presentations of built work are encouraged in this session.

VI. Sound in Architectural Education: how can a consideration of sound be used to enrich the education of tomorrow's architects?

VII. The Architectural Representation of Sound: how can the predominately visual domain of architectural representation deal with sound? Presenters may approach any of the above topics historically, theoretically, or through the presentation of project work.

Presentations involving current built work are particularly encouraged. Final papers will be expected to have a maximum length suitable for a twenty-minute presentation (approx. 3000 words).

Proposals will also be accepted for those wishing to present installations at this conference. Proposals for installation work should be submitted under one of the above session themes, and include a written description of 300 words or less, along with appropriate graphic material. Please note that the organizing committee cannot provide financial assistance for the mounting of installations.

Further information about formatting of abstracts will be posted shortly on the conference website,, or by contacting the conference organizers at

Call for Papers, Call for Works
Live Algorithms for Music Annual Conference and Concert

Dec 19th-20th 2005, Goldsmiths College, London, UK

The EPSRC-funded Live Algorithms for Music network investigates the use of autonomous computers in creative performance. Our interest is in systems that run live algorithms, that is to say systems which collaborate actively with human performers - or other machines - in real-time performance, and can do so without the presence of a human operator. The requirement of a live algorithm is that it should participate in a performance just as a human might, making apt and creative contributions to the musical dimensions of sound, time and structure.

The network brings together performers, composers and scientists in the areas of cognition, artificial intelligence and computing.

We are pleased to announce that our special guest this meeting is Al Biles, Professor at Rochester Institute of Technology, New York. Al is a Live Algorithms pioneer, famous for his genetic algorithm jazz improviser, GenJam. Al will be talking to us about GenJam and evolutionary music, and performing with GenJam at the LAM concert.

We invite the submission of papers on any subject relevant to the aims of the LAM network.

Proposals for performance are also welcomed.

There will also be a session for short reports on ideas and work in progress.

Details of LAM at

Please contact Tim Blackwell ( or Michael Young (

Call for Papers/Presentations

Two Thousand + SIX
A new international conference focusing on performance in technology mediated environments

This new conference will kick off as part of the 2006 Sonorities Festival of Contemporary Music (, hosted at the Sonic Arts Research Center, Queen’s University Belfast ( The festival is the longest-running new music festival in Ireland that presents cutting-edge new music and features some of the most thought-provoking and controversial musicians.

The "mini-conference" aims to reflect the innovative approach of the festival and will, for the first time, bring together performance practitioners (from music, dance, theatre and new media), composers, and theorists in order to discuss a wide variety of topics on performances that are informed by new technologies.

The "mini-conference" is planned for Saturday, the 29th of April 2006 at SARC in Belfast. Paper sessions will take place in the morning and the afternoon, with two keynote speakers, a lunchtime performance and an evening concert.

Keynote Speakers
Susan Broadhurst Sue is a writer and practitioner in the creative arts. She is currently Subject Leader of Drama Studies at Brunel University. She is the author of " Liminal Acts: A Critical Overview of Contemporary Performance and Theory" (1999); "Digital Practices: A Critical Overview and Neuroesthetic Approach to Performance and Technology (forthcoming, 2005), and "Performance and Technology: Practices of Virtual Embodiment and Interactivity (forthcoming, 2006). Sue is also co-editor of the Body, Space & Technology online journal.

Ben Watson. Wire contributor, Trotskyist and Zappaphile, Watson has written extensively on themes such as pop culture, situationism, punk, Adorno, Frank Zappa and improvisation. He is the author of "The Negative Dialectics of Poodle Play", “Derek Bailey and the Story of Improvisation”, and “Art, Class and Cleavage”.

Call for papers/presentations:
For this one-day conference we invite proposals for papers that reflect on performance and technology. As this is a short event, a maximum of 16 papers of 20 minutes duration (plus question time) will be accepted.

Abstracts (max. 350 words) are due by the 15th of December 2005.
Presenters of accepted papers/presentations will be informed by the 15th of January 2006. The registration for the one-day event will be £40 (£15 unwaged). This includes free access to all Sonorities Festival events on the 29th April 2006.

All accepted papers will be published online.

Further information on the conference will be posted in December 2005 on the SARC website:

Submissions and all queries should be directed to:
Franzisk Aschroeder

Call for Submissions

discparc’s 3rd release – dp003 ‘sound art project’
Planned release March 2006 - format CD + 32 pp fanzine

Limited Edition 1000 x CD with 32-page fanzine publication 12 Audio Artists - 6 Scottish, 6 Toronto

With our third release we are searching the audio art world, seeking the unique, challenging and experimental. It is open for artists working with sound, living in Toronto or Scotland. This project will be seen as an exchange of cultures with no clear allegiance to an ideology, genre or constraints. From the outset it is a chance to see what could develop between the two countries. Artists working in all areas of audio art and any style are encouraged to submit proposals as it is envisaged that this project will be an eclectic illustration of the soundscape being currently created in the two countries.

A team of Toronto based artists/curators and discparc’s curatorial team will form the project selection panel. The Toronto based team selecting the Scottish artists and vice versa. Each panel will have creative input and via conversation bring the project together to develop its curation and theme.

dp003 will be released as a CD and will be accompanied by a 32-page
fanzine; selected artist will be invited to contribute to the zine, which will be seen as a supporting publication of image and text, along with an evening event to celebrate the release.

How to submit your proposal:
Artists have to be either a resident, based in, working in, or originally from Toronto (including the greater Toronto area) or Scotland. [A maximum of 2 tracks per artist, each between 20 seconds and 8 minutes in length.]

Send a CD-R containing the following files: Your audio track(s) in .wav or AIFF format, 16bit, 44.1khz in either mono or stereo.

-A text document stating your name, contact details (email and mailing address), track title, track length, and a declaration that your track does not infringe any copyrights or use any unlicensed material.

-A text document with your Bio, CV and the intention behind your current practice, and any other supporting documentation or visuals. (Please do not send originals, as submission material cannot be returned)

No payment can be offered for submissions but the selected artists will be appropriately accredited and receive 20 copies of the release and publication.

Deadline: 31 October 2020

The ‘discparc’ label has been created to disseminate original recordings by dedicated audio artists at any stage of their career. Presenting releases of schizophonic art, Electro-acoustic, Noise, Experimental Music and Sound Art on all audio distribution forms including vinyl, CD, cassette and on-line. ‘discparc’ is a resource and support for emerging to established audio artists. We look for artists who present unique and challenging work and who will actively
persevere with us in the development and production of a project. Created and managed by University of Dundee Exhibitions Department, a department within the Faculty of Duncan of Jordanstone College of Art & Design, a Faculty of University of Dundee.

For more information

To mail your submission:

University of Dundee Exhibitions Department,
Duncan of Jordanstone College of Art & Design
13 Perth Road, Dundee DD1 4HT
T 44 (0) 1382 345330,
F 44 (0) 1382 345192

SPNM Call for Works 2005
Deadline: 27 January 2021

This is the UK’s most inclusive call for new music. You can be ANY AGE. Your music can be of ANY DURATION, written in ANY STYLE, in ANY GENRE and for ANY FORCES AND MEDIA.

spnm’s annual call for works finds the best new music in the country each year. It is open to anyone who is composing new music, of any age, based in the UK or Ireland. From the anonymous submissions a panel from a broad range of musical backgrounds selects 30 composers to join the spnm shortlist. Over the next three years spnm then offers these composers opportunities to have performances of their work, participate in training and professional development and receive promotion from spnm for them and their work.

Whether your work is for western or non-western acoustic instruments, an electronic piece or an installation, electroacoustic or improvised, if your work is new and taking the form and its audience forward, you should apply for this call.

For more information and to download an application form, visit

Call for Works

Fifth Annual International Women’s
Electro-Acoustic Listening Room Project
Cal State Fullerton

Voices on the Edge:
Crossing Cultures
Women in New Music Festival
March 9th-12th, 2006

Concerts, Listening Room, Lectures, Master Classes, Workshops featuring

PAMELA Z, voice and electronics
ETHEL, string quartet
CHEN YI, composer in residence,
and other guest composers, performers, scholars

International Women’s Electroacoustic Listening Room Project:
The Women in New Music Festival features day-long playback of works by women in electroacoustic music During the 8 hours of the electro-acoustic listening room the listener’s mind is immersed in the sounds of diverse compositional voices of women composers in electroacoustic music from over 20 different countries from around the globe. The Women’s Electroacoustic Listening Room strives to present a diverse sampling of different approaches to electronic music, with examples from classical computer music, environmental music, and meditative music to works that expand acoustic virtuosity and improvisation with virtual instruments to sonic documentaries that capture the inner workings of the mind: horror, humour and the unfolding of human dramas. This year the Women’s Electroacoustic Listening Room focuses on VOICES ON THE EDGE and will also go ON THE ROAD and be presented at various venues throughout the United States and Europe.

Submit your proposed electronic/electro-acoustic work for inclusion in the listening room event: Voices on the Edge. Maximum length 12 minutes. Please include: CD of proposed work, submission information: length of work, name of composer, contact information, program notes and short bio to address below. Also send all submission information by email to

Dr. Pamela Madsen
Music Department
California State University, Fullerton
P.O. Box 6850
Fullerton, CA 92834-6850
Postmark Deadline: January 15th, 2006
For more information contact:

is presented at CAL STATE FULLERTON

- 2002, HYSTERIA EMBODIED: Form and Feminine Voice, Hysteria Embodied, with members of Zeitgeist Ensemble in residence, featuring works of Pamela Madsen

- 2003, TRANSFORMING VOICES: The First Women’s Listening Room Event with non-stop playback of electro-acoustic works and lectures by guest women composers: Julie Adler, Madelyne Byrne, Renee Coulombe, Jennifer Logan,. Hundreds of CDs and materials were sent in and archived for this international resource on women in music: International Women’s Electro-Acoustic Listening Room Project.

- 2004, HEARING VOICES: Enlistening the Future in conjunction with the Envisioning the Future Project with artist Judy Chicago, featured an extended day-long electro-acoustic listening room and evening performance of WE ARE ALL SIBYLS, Electroacoustic Opera/Installation by Pamela Madsen with works by guest composer/performer from Amsterdam: Anne LaBerge, flute and electronics and many other guest women composers/performers

- 2005, MERGING VOICES: celebration of diversity in women composers, the festival featured performances, lectures, masterclasses and workshops by diverse women composers, with works for orchestra and chamber music ensembles. Pauline Oliveros and Joan Tower, guest composers in residence; Diametric and eighth blackbird, guest ensembles in residence and over 100 new works in electroacoustic music from women around the globe.

- 2006, VOICES ON THE EDGE: reaches out to women composers from all over the world to bring new electroacoustic works from diverse edges of the world together in a celebration of Crossing Cultures, with Listening Room, Concerts, Master Classes and Workshops with performer/composer Pamela Z, voice and electronics; ETHEL, string quartet and guest composer Chen Yi in residence.