SoundscapeFM
If you haven't checked SoundscapeFM out yet, now is the time to do it!  The radio brodcast and webstream will only be up until 14 August. Of course, the website and sound archive will be up for a lot longer, and we hope to do more live broadcasts and projects with the site and archive:

The turnout for the SoundscapeFM project was more than just a little impressive. In about a week, over 170 field recordings from 46 different artists were uploaded, mixed, broadcast and streamed! From our tiny little half-watt transmitter, we were actually able to cover a good section of the [admittedly small] city of Stralsund. Just about every day during that week, I had requests for logins by people who had heard about the project and wanted to contribute. The website is crammed full of sounds from just about every corner of the world, and a simple browse through these sounds will show a huge array of styles and approaches to the art of phonography.
www.soundscape-fm.net

Labculture Symposium (Bridport) 9-12 September 2004
Labculture is an excellent opportunity to see new work, meet artists and to network with a wide variety of promoters and practitioners. A key feature of the programme will be the 'black box' featuring new experimental audio works by up to 15 artists made during LabCulture Residencies.

The symposium includes professional development, good practice and funding seminars by invited keynote speakers including artists Tahera Aziz and Karen Wallis.

The Symposium has an affordable £12.50 registration fee. For further information email mandy@pva.org.uk

What Does Bow Sound Like?
An invitation to take part in the Bow Festival 2004 : Creating Sound Postcards from Bow.

What does Bow sound like to you? Are there sounds you hear every day that you love or hate? Want to discover new sounds? Join a group of sound artists on an exploratory walk around Bow, making and sending short sound recording 'postcards' to each other.

We will collect sounds everywhere we find them: known noises; tiny secret sounds; the beautiful and the irritating; indoors or outdoors; public or hidden. Then, using local wireless internet technology, we will put these sounds online and send them to other sonic explorers out and about in Bow. You don't need any sound recording or computer experience, we will help with using the equipment.

Artists Melanie Clifford & Rob Grant will be running sound-gathering walks around E3, between Saturday 7 and Wednesday 11 August.

The sound postcard records will then be part of an exhibition in the bell tower of St. Paul's on St. Stephen's Rd, Bow, E3 on Friday 13 & Sunday 15 August. They will also be made into mini CDs, which you can take away & post to friends or family anywhere in the world.

'Sound Postcards from Bow' is FREE to anyone living or working in the Bow area - but we won't be checking passports, so any connection with, or love of Bow will qualify you. Places are limited, so book now.

If you would like to take part, email: info@corrugated.demon.co.uk or phone 020 8809 1612 or 07743 486937

Concept
Marketing/practitioner required to join "Concept" on a freelance basis. Concept specialise in all things Audio related from Talking Literature to Sound Environments and Oral History.

For further information email colin@soundconcept.co.uk
www.soundconcept.co.uk

PRS Foundation Live Connections 04
Deadline for applications Thursday 12 August 2020

The PRS Foundation (PRSF), the UK’s largest funder for new music of any genre, is maintaining its reputation for breaking new ground, by extending its support for pioneering electronic music through its unique Live Connections scheme.

Live Connections is the UK’s only funding scheme specifically aimed at live electronic music of any genre and targets UK-based writers of electronic/dance music. The scheme, now in its fourth year, was devised to get writers out of the studio and into the public arena, to give more people the chance to experience new electronic music.

The PRS Foundation will make 10 awards of up to £2,500 to dance music creators for a
one-off performance of their work, either as a live PA as part of a club night or as a stand-alone event.

This year, the PRS Foundation is particularly looking to support music creators who are writing innovative electronic music, which is imaginatively presented and which has the capacity to draw new audiences. An advisory panel of electronic/dance music specialists selected by PRSF will consider all applications and will listen to an example of the music creator’s work.

Application forms and guidelines for Live Connections can be downloaded from www.prsfoundation.co.uk/funding/liveconnections

BBC Radio Drama Composer Bursary 2005
Job Ref: 75042
Deadline for applications Tuesday 31 August 2020

The BBC Radio Drama Department in London, Birmingham and Manchester produces 400 hours of drama and readings a year for Radio 4, Radio 3, Radio 5, BBC7 and The World Service. Over 20 Producers work alongside Broadcast Assistants, a Development Team and support staff. The work covers a huge range of genres, styles and content. We thrive on the challenge of seeking new ways to develop the soundscapes of our programmes and on new opportunities of increasing the diversity of our considerable audience.

This scheme allows a Composer-in-Residence to work part-time in the department during 2005. We have in recent years had three writers in residence and, much on the same pattern, we are now looking forward to working alongside someone who can stimulate us by looking at our work, our ideas and our work processes from a "sound" perspective. This twelve-month bursary will run from January 2005 - December 2005 and the Bursary Award is for £10,000 paid in instalments through the year. The bursary is open to composers who are fairly new to the medium of radio drama. We are looking for someone who has some professional experience in composing for film, TV, theatre or for the music industry in general, so you'll have had one or two commissions already but will have achieved some progress in another area of composition or sound design. Further you'll have a sound grasp of the dramatic art form and how music can compliment and at times drive the drama itself. We regret that the bursary is not open to those currently studying in full-time education. The composer-in-residence schedule would be flexible but would average out at no less than two days per week in the Department. The successful candidate would be attached to a mentor producer and also to a number of drama projects during the year. However, we envisage there to be considerable freedom around this to follow up other ideas and engage in the life and creativity of a busy and productive department.

To apply to for this scheme please submit an application on line as well as sending us a short demo CD of your compositions, indicating the reference number 75042, to the following address: BBC Recruitment Response Team PO Box 48305 London W12 6YE

Applications and CD's will be received up until Tuesday 31 August. If you are shortlisted, you will hear from, us in week commencing 18 October. You will be sent two radio drama productions to critique and asked to provide a short composition to accompany a passage from a projected radio production. Interviews will take place week beginning 8 November.
https://jobs.bbc.co.uk/jobportal/search/vacancy.aspx?id=2178

TRANSIGENCE 2004
Deadline 1 September 2020

Soundtoys has secured a series of exhibitions for interactive audio visual art and net art for later in the year. These venues include The Watershed Media Centre in Bristol and Dana Centre London.

A cd is planned to be produced (subject to funding) representing audio visual art and media 1998-2004 so please send in your work.

We are looking for contributions of audio visual interactive works, net art, music and art software, generative music, interactive environments, essays. Work will be featured on the website and selected works made into offline presentations at selected galleries.

We are seeking new work for the 2004 series of events and for the website.

1. Internet. New online audio visual experiences and interfaces. Works for the website. We are interested audio visual work by artists using the internet as a medium using internet friendly programming technologies e.g. shockwave, flash, vrml, java etc. So send in via email.

2. Installations. If you make interactive installations send in 400 words about the work and four images of the work. i.e. responsive environments, soundspaces, new interfaces navigation control, new displays.

3. Software. Artists and musicians software. This year we are particularly interested in applications by artists who make their own software.

If you work in any of the areas above we would like to hear from you. Either you could make something special or send in previous work that would be featured on the site and at galleries.
www.soundtoys.net

Urban Symphony Workshop Leaders
Deadline for applications is Thursday 23 September 2020
Are you a musician who has some experience of leading music workshops? Would you like to extend your skills by participating in a Workshop Leader Mentoring Scheme with the Royal Philharmonic Orchestra?

The RPO Community and Education Department is looking for musicians to work alongside RPO musicians and young people (aged 11-18) developing their leadership and musical skills on a diverse range of projects including many musical styles. Successful applicants will participate in a range of workshops and performances, receive regular feedback and support from the RPO as well as fees and expenses.

For further information and details on how to apply email education@rpo.co.uk or call 020 7608 8827.

UK MicroFest 1 'Window' Sessions
Friday18 and Saturday 19 March 2021
St. Cyprian's Church, London
Deadline for submissions Friday 3 December 2020

Microtonal Projects Ltd would like to propose a call for 'window' sessions which are designed to demonstrate the range and depth of microtonal interest in the UK. Microtonal Projects would be delighted to hear from staff or students interested to present a snapshot of their work within the following guidelines:

Window sessions can last for between 5 and 15 minutes and could present any of the following, although other ideas are welcome:

1) a microtonal work or group of works given by the composer (using live, or CD examples)
2) research into microtonality (intonation, tuning systems etc.)
3) microtonal performance possibilities (research-based or demonstration)
4) new instruments (ideas for ... , prototypes, performances on ... )
5) microtonal electro-acoustic works (extracts or whole pieces)

There will be a slot of up to an hour and a half devoted to the window sessions depending on response.  These will be introduced by Patrick Ozzard-Low.  The purpose of the window sessions will be to offer an opportunity to present work and ideas which are fresh and relevant to microtonality.  They are intended to be snapshots only: there will be other opportunities to present more extended work on the Microtonal Projects website or at future Microtonal Projects events.  Proposals (stating a suggested, accurate time allocation), biographies, CDs (if relevant) should be sent to: Microtonal Projects Ltd, 75 Canbury Avenue, Kingston upon Thames, Surrey KT2 6JR or emailed to: microfest@microtonalprojects.co.uk
www.donaldbousted.co.uk www.microtonalprojects.co.uk

Call for Papers: NOISETHEORYNOISE#2
SATURDAY 20 NOVEMBER 2020
Middlesex University, White Hart Lane, London N17 8HR
Deadline for proposals Friday 10 September 2020

We would like to invite contributions to NTN#2 on the following topics from noisicians of every stripe, whether they be noise makers, noise enthusiasts, or inventive but unsanctioned noise theorists:

Is noise accountable to the terms of a pre-constituted theoretical discourse on aesthetics?

Must its "radicality" be contrived from within the bounds of that self-same discourse?

Does noise fail in its imputed assault on traditional aesthetics and musicology? What are the methodological and aesthetic specifics of "japnoise" as a genre? Is there something like a common "modus operandi" running through the works of Hijokaidan, Masonna, Hanatarash, CCCC, Merzbow, etc.? What makes it matter?

What constellates noise and the so-called "industrial" and/or "power electronics" scene from the 1980s (e.g. Whitehouse, Ramleh, M.B., New Blockaders, P16.D4, Etant Donnee, Pacific 231, etc.)?

What transformed historical and technological conditions produce the so-called "noise aesthetic"?  What is the noisician's dependence, if any, on the novel possibilities of sonic production offered by the digital revolution?

Is noise enjoyed?  Who enjoys it?  Are noisicians perverted abnegators who, due to emotional deficit, are unable to experience the full affect of soul/pop/classical music?  

Is there an interface between the praxis of noise and sampling / turntablism?  How is it informed by montage, collage and/or cut-up?  What does noise offer materialist historiography?

This list of topics is not intended to be exhaustive so please feel free to contact us if you would like to address a topic not listed above. Audiovisual equipment will be available and we actively encourage presentations in which examples of the noise being discussed can be played for the audience. But bear in mind that each presentation should last no longer than 30 minutes.

Please send your proposals/abstracts to andymcgettigan@another.com and ray.brassier@btopenworld.com.

visionofsound
visionofsound, the digital arts label and website founded and created by visionhead Simon Vincent is looking for digital works (electroacoustic/video or both) for release on cd and web display. Originally formed in 1996, receiving critical praise from The Wire, Jazzwise, Time Out to name a few, visionofsound will officially relaunched in October 2004.

Please call Simon Vincent on 07960 011 276 or email simon@v-o-s.dircon.co.uk for further details.

High Desert Test Sites, Joshua Tree, California
Deadline Friday10 September 2004

Audio art pieces are being accepted for a pirate radio project at High Desert Test Sites in Joshua Tree, California. The radio station will be broadcast across part of a valley outside of Joshua Tree for two days in late October. The radio station content will consist of a compilation of works submitted by other artists, community groups, audiophiles, etc. Listeners will tune in on their car radios, and at a listening station/art installation in the desert landscape.

Keep in mind that the radio station will be experienced in the context of the High Desert landscape, which you can check out at http://www.highdeserttestsites.com. Submissions can be fiction, music, oral history, soundscapes, soundtracks, etc. There is no time limit, but we may choose to use segments of longer submissions (in consultation with the artist or producer). Short submissions are also acceptable.

Send a CD and a short statement to Christy Gast 983A Dean St. Brooklyn, NY 11238 or email a link and short statement to fl2102@columbia.edu