News from the Sonic Arts Network

People Like Us
DVD Launch Party
Thursday 20 October 2005, Everyman Cinema Club, Hampstead, London

This event will feature a live AV performance by People Like Us with film screenings and a DJ set by Rough Trade’s Simon Russell to launch the new DVD ‘Story Without End’ by People Like Us at Hampstead’s Everyman Cinema Club on Thursday 20 October 2005.

Over the course of eleven years and with more than ten solo albums People Like Us (aka Vicki Bennett) has built a reputation for her recontextualisation of found audio and visual recordings. Bennett creates collages with a dark, witty and surrealistic view of popular culture. People Like Us has performed in festivals and presented installations across the globe including at London’s ICA and Tate Modern, The Pompidou in Paris, San Francisco Art Institute and on BBC Radio 3.

‘Story Without End’ uses footage from the Prelinger Archives and AV Geeks and addresses the ever-changing technologies of the 20th Century; the hopes and aspirations of these innovations being the same hopes and aspirations held today.‘Story Without End’ explores and reappropriates the timelessness of the message; the will to find newer and faster ways to communicate.

“With promises of faster connectivity resulting in better productivity and ultimate happiness, aspirations haven't changed that much - just the method by which people try and achieve this goal. In amongst change there are always the very basic fundamental things that make up what it is to be human, the hope to be less isolated and to feel and do more.  However, the more we surround ourselves with objects that plug us in, the more we can become disconnected.” - Vicki Bennett

People Like Us: ‘Story Without End’ DVD launch at 8pm on Thursday 20 October at the Everyman Cinema Club, Hampstead (diagonally opp Hampstead tube) Tickets £5, available from

Sonic Postcards teams up with Hayward Education

On Monday 24 October between 2-4pm, families will be invited to the Upper Foyer of the Hayward Gallery to create their own limited edition, fine-art souvenir audio postcard by capturing sound and images from within and around the Hayward Gallery.

The family workshop runs in conjunction with the current exhibition, entitled ‘Universal Experience: Art, Life and the Tourist’s Eye’. On show from 6 October to 11 December, the exhibition is both an exploration of the phenomenon of global tourism and an adventure in itself. It will occupy the entire Hayward Gallery and sites across the South Bank Centre.

The families will have the opportunity to record sounds and gather images in and around the Hayward to use as the basis of their sonic postcards. Sound artist Robert Worby will guide participants through the process of recording and selecting the sonic material whilst visual artist Reza Ben Gajra will assist the families in producing their very own works of art based on selected works from the 'Universal Experience' exhibition to use as CD covers. At the end of the workshop, each family will be able to take home their fine-art souvenir.

Places are strictly limited and booking is essential on 0870 169 1000.

Children attend free with a paying adult (who can take advantage of the Hayward Gallery's Half Price Mondays offer!)

New call for work imminent for next years Expo in Manchester

Keep an eye on the Sonic Arts Network website over the coming days as SAN prepare to release a call for work, papers and submissions. The 2006 event will take place in Manchester in conjunction with Cornerhouse and University of Manchester. This weekend of performance, exhibition and presentation will take place across a variety of public venues in Manchester including concert halls, gallery spaces, bars, nightclubs and central to this year’s programme will be a day of sound art at The Manchester Victoria Baths (Winner of BBC 2’s 2003 Restoration series), is one of the few surviving municipal buildings of its type in the UK.The weekend aims to highlight the broadest possible range of approaches and thinking that surround the sonic arts.


6 October
Sound @ The Muse
(live performance)
The Muse, London, W11
A night of soundscapes, improvisation and sonic art in an atmospheric and receptive environment featuring Janek Schaeffer using his custom built 'Twin' turntable, SonVer (Cello, Guitar and Electronics) and Tim Burness (Guitar and FXs).

7 October
Pat Thomas, Julian Faultless
(live performance)
Holywell Music Room, Oxford

Night of improvisation, dance and performance, including Julian Faultless playing Stockhausen’s ‘In Freundshaft’.

7-9 October
Xenakis: Architect in Sound
Royal Festival Hall, London

A weekend exploring the work of Greek sonic pioneer, Iannis Xenakis. Featuring performances by London Sinfonietta, Arditti String Quartet & Nicolas Hodges (piano), Rolf Hind and BBC Symphony Orchestra & BBC Singers plus discussions and film screenings.

10 October
Sonic Arts 39: Marko Ciciliani
UEA School of Music, Norwich

Amsterdam-based Ciciliani uses the no-input mixer - a mixing board which does not use any external inputs, but where all sound is created through internal feedback. As an improviser he has worked with, amongst others, Fred Frith, Jaap Blonk and Sachiko M.

12 October
Charterhouse Bar, London EC1

The experimental audio club is back in action
presenting a selection of oddbeats, soundscapes & eclectic sounds.  This month features Jamka, Strcprstskrskrk, WANG INC and Xela.

13 October - 20 November
Sounds like Drawing
The Drawing Room, Tannery Arts, London, E2

A group show presenting the work of 9 international artists whose work explores the trajectory between sound and drawing. Kaffe Matthews presents new work, "Blue Hook" for radio cycling. Take a bike with radio attached (provided by the gallery, or your own) to participate. Show also presents work by Beth Campbell, Joseph Grigley, Conor Kelly, Tom Marioni, Terry Nauheim, Carsten Nicolai, Robin Rhode and Steve Roden.

14 & 15 October
UK MicroFest 1 ~ Wild Dog 1
Riverhouse, Walton-on-Thames

After having been victim in March to Westminster City Council’s banning order at St. Cyprian’s, UK MicroFest 1 incorporating Wild Dog 1 is back. UK MicroFest 1 explores the depth and diversity of microtonal practice in the UK.

14-16 October
Instal 05
The Arches, Glasgow

This year Instal is a 3 day venture, with 16 performances on 2 stages, workshops and a fringe of events around the city.  The list speaks for itself; Sun City Girls, Pauline Oliveros + David Dove, Loren Mazzacane Connors + Alan Licht, Hijokaidan, Jandek, Tom Bruno, Chie Mukai, Henri Chopin, Black Boned Angel, UP-TIGHT, Tetuzi Akiyama, Birchville Cat Motel directing hand, Rauhan Orkesteri, Ingar Zach + Rhodri Davies and JOJO.

20 October
People Like Us DVD Launch Party
(live performance + screenings)
Everyman Cinema, Hampstead, London

Launch Party for People Like Us DVD, Story Without End.  Presented by Sonic Arts Network and Lux, the party features a live performance by PLU and a DJ set by Rough Trade’s Simon Russell plus film screenings. A limited number of tickets are available form the SAN site.

21 October
Karlheinz Stockhausen: Composer and Interpreter
Guardian Auditorium, Frieze Art Fair, Regent’s Park, London

Sonic Arts Network Honorary Patron, Karlheinz Stockhausen makes a rare visit to London and delivers his own, unique brand of lecture. Musical examples played by Suzanne Stephens (basset-horn) and Kathinka Pasveer (alto flute).

22 October
Karlheinz Stockhausen @ Frieze
Old Billingsgate Market, London, EC3

A rare chance to experience a performance by legendary composer Karlheinz Stockhausen of his classic 1960s work KONTAKTE and OKTOPHONIE [1990s] in octophonic sound projection, from his monumental 30-hour-long cycle LICHT.

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.

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.


Wanted: Radio Artists for Special Resonace Broadcast

We are looking for radio artists to get involved with a live special broadcast on Resonance FM, for European Radio Day. We are looking for a crew of artists to take part and also pre-produce individual 2-5 min pieces to be broadcast on October 16 as part of a special live show for Prix Europa Radio Day of European Cultures. The theme is ‘stations and shows who broadcast across Europe on the frequency 104.4 fm’. Think creatively, we welcome experimental remixed jingles, LW radio broadcasts and CB broadcasts. The deadline for pre-recorded parts is Sunday 9 October.


Call for Works and Papers

Fifteenth Annual Florida Electroacoustic Music Festival
April 6-8, 2006
University of Florida
Gainesville - Florida - United States of America

After fourteen years of service to the profession, the Florida Electroacoustic Music Festival enters its 15th year of bringing together an international rostrum of today's electroacoustic composers to present their music. Past composers-in-residence have included world renowned composers Hubert S. Howe, Jr., Cort Lippe, Gary Nelson, Jon Appleton, Joel Chadabe, Larry Austin, Barry Truax, Richard Boulanger, Paul Lansky, James Dashow, and Morton Subotnick.

Call for Works

A call for electroacoustic art music works that fit into one of the following categories:

works for recorded media alone
- two to eight channel works for performance on up to 14 speakers (see media formats supported)
- video works

works for recorded media and instrument(s)
- special interest in works for flute, clarinet, saxophone, horn, trombone, contra-bass, piano, and percussion

works utilizing interactive applications/interfaces including electroacoustic improvisation, alternative controllers, and new approaches to sound with other media in performance.

Supported resources include:

- Cycling 74's Max/Msp
- SuperCollider
- Kyma X w/ Capybara 320
- Yamaha Disklavier Grand Piano
- Proposals for other technologies will be considered

Media formats supported: audio - CD, 16 and 24 bit RDAT,
Tascam DA-88/DTRS, Alesis ADAT; video - DVD and VHS (NTSC)

Deadline for the receipt of submitted work(s): November 1, 2020

Works using live performance must be accompanied by a tape of a performance or high quality realisation.

All submissions must include performance materials in one of the media listed above, performance parts and/or a score, a brief biography (75-100 words), programme notes (100 words or less), and submission form <>. Biographies or notes in excess of the maximum will be truncated. Incomplete submissions will not be considered. Please indicate whether the composer can provide the
performer(s). Contact information on the required submission form must include a phone number, address, and if available, an email address, web site, and fax number. A self-addressed stamped envelope (SASE) is required for the return of all materials (or international postal response return coupons). Materials not accompanied by a SASE will
become property of the Florida Electroacoustic Music Studio.

Composers may submit no more than two compositions for performance consideration.

Composers selected for performance are required to attend the festival; this is to provide the festival with a sense of community. The festival is unable to provide travel grants or honoraria.

Should a composer be unable to attend the festival their work will not be presented.

Call for Papers/Presentations

A call for papers, studio reports and lecture/demonstrations dealing with the technology, musicology and/or aesthetics of electroacoustic music.

Submissions from all current areas of research are encouraged. Possible topics include: acoustic ecology, interactive composition/synthesis, algorithmic composition, new musical interfaces and new synthesis/processing techniques. Authors selected will be given 30 minutes to present their paper (20 minutes for delivery and 10 minutes for questions and answers).

Deadline for receipt of submitted materials: November 1 2005

Three copies of the completed paper, studio report or lecture/demonstration abstract must be accompanied by a brief biography of 75-100 words and a contact sheet (abstract and biography should be promptly available on data CD or via electronic transmission upon selection). Biographies in excess of the maximum will be truncated. Contact information sheet must include a phone number, address and if available, email address, web site and fax number. All submitted papers will become part of the Florida Electroacoustic Music Studio Library.


Dr. James Paul Sain, FEMS Director
University of Florida School of Music
P.O. Box 117900/130 Music Bldg.
Gainesville, FL 32611-7900
(352) 392-0223 ext. 240/voice
(352) 392-0461/fax

More information on the electroacoustic music program at the University of Florida and the Florida Electroacoustic Music Studio can be found at:

Anticipated notification of selection for those with email access will begin November 23, 2005. Please add an appropriate delay for postal notification.

Current information on this FEMF15 call can be found at:

Complete FEMF15 program will be available at:

Call for Works


The SOUNDS ELECTRIC '05 festival has programmed two concerts of electroacoustic music, for which it would like to invite composers of any nationality to send in electroacoustic music pieces in two basic categories:

1) Pieces using Csound, either as CD recordings (preferred) or as orchestras/scores.
2) Electroacoustic ('tape') pieces of any description, using any other production means.

The following guidelines apply to both categories:
* Pieces should, preferably, last not more than 10 mins.
* All pieces should be presented in stereo (2-track).
* Submissions should be accompanied by a brief programme note and biographic details of the composer.
* All copyright on submitted works must be owned by the composer.

A panel will select the submitted entries to be performed in two concerts representing each category during the SOUNDS ELECTRIC '05 festival. All submitted CDs will be kept as part of the NUI Dept. of Music CD library and will not be returned.

Please send works to EAR at the address below to arrive no later than 4 November 2005. Notification of selected works 14 November 2005:

EAR -Sounds Electric '05
c/o David Stalling
3 Radcliffe
Binn Eadair View
Dublin 13


Composers and researchers in the area of Computer Music are invited to propose papers for presentation on sessions dedicated to the Csound language. Any proposals relating to uses of the system are welcome. Suggested topics include:

 * Electroacoustic Composition
 * Algorithmic Music
 * Csound as a research tool
 * Synthesis and processing techniques
 * Instrument development
 * Programming opcodes and user-defined opcodes
 * The Csound host API and its uses, embedding Csound
 * Front-ends and helper applications
 * Graphical application development with Csound and FLTK opcodes

Presentations will be limited to 20 mins. Extended abstract-only (1000 word max) submissions should be sent electronically to, either in PDF or MS Word format.

Deadline: 28 October 2020
Notification: 04 November 2020

Call for Participants

We invite practitioners, artists, designers and researchers from all areas, including music, technology development, new media, sound-art, music distribution, locative media and industry to register for this international mobile music workshop.


Are you working on a mobile music project and looking for feedback from like-minded people to help you to move on with your ideas?

We invite submissions of work-in-progress projects exploring the topic of mobile music. Projects will be discussed, receive critical review as well as support with ongoing problems and issues. Your work should not be completed yet, but either be on-going or just about to get started. Potential projects could include but are not limited to mobile music systems or enabling technologies, interface design, on-going or planned user studies, ethnographic fieldwork, art pieces and other areas relevant to mobile music.

Submissions should include a presentation of the project, explain its relevance to the field of mobile music and describe issues and problems that could be discussed during the workshop. Please include a short biography with the submission. Accepted project authors will be given time to present and discuss their work and will receive feedback by smaller groups of workshop participants including specialists in the field. Authors are encouraged to bring material and prototypes to the workshop.

Submission format: one page in ACM SIGCHI publications format
Submission deadline: 28th November 2005
Notification of acceptance: 15th December 2005


In addition to the presentations, discussions and project feedback sessions the workshop will also offer hands on group activities to explore technological platforms.

We are looking for mobile platforms, systems, installations, applications or devices that include music features or can be used for musical projects. The workshop participants will get hands-on experience with these platforms, so they should be suitable for groups of at least 8 people. This provides you with the opportunity to introduce your platform to experts and practitioners in the field of mobile music and to gain valuable feedback. We invite you to submit a platform description, explain how it can be used for mobile music and how larger groups can use it during the workshop.

Submission format: one page in ACM SIGCHI publications format
Submission deadline: 31st October 2005
Notification of acceptance: 14th November 2005


Please send your platform or project submission as a PDF file, to all three,, and In the subject line, state MOBILE MUSIC WORKSHOP SUBMISSION followed by PROJECTS or PLATFORM and the name of the main author.


The number of participants is limited to 25 places. Accepted submitters are given priority, other participants are accepted on a first-come first-served basis.

Regular fee: 70 Euros (47 GBP)
Reduced student fee: 45 Euros (30 GBP)
Registration deadline: 17th January 2006


How to get to the University of Sussex:

Where to stay in Brighton:

Information about Brighton and surrounding area:


The 3rd international workshop on mobile music technology is organised by the Department of Media and Film Studies, University of Sussex (UK), the Future Applications Lab, Viktoria Institute (SWE) and Adelphi Research Institute, University of Salford (UK).
In collaboration with PLAN (Pervasive and Locative Arts Network) and Futuresonic.

Contacts: Frauke Behrendt (University of Sussex):
Lalya Gaye (Viktoria Institute):
Drew Hemment (University of Salford, PLAN and Futuresonic):

'Insular Regions'

SIRR 0021

John Grzinich's new album reflects the surroundings and pace of life in a small Estonian village called Mooste where the sound was recorded and assembled. The work takes the form of two long pieces (18 minutes and 44 minutes respectively), which could be pigeonholed as 'deep-listening drones with field recording textures'.

It is noticeable that though the liner notes describe the making of individual field recordings, the two most prominent sounds are complex evolving drones, used mainly to anchor the field recordings, to give some connecting motion to the pieces. In some ways these drones, though extremely detailed and rich in warmth and sonority, can at times feel at odds with the dynamic gestures captured in field recording, which occasionally become subservient to the flat, slowly propulsive drones. Sometimes because of the sheer spectral richness of these drones it causes the elements of environmental sound to be almost banished to the highest frequencies where some of the sounds, no matter how poetically described, sound like rustling:

[from the liner notes]

"The first snow was wet and melted upon contact with the trees. Drops fell across the forest causing a delicate cracking giving the feeling that the dead leaves were crawling back to life."

"It was the sound of the lake freezing. The ice was solid enough to stand on but shifting slightly."

What really makes this album of interest is the continued development that Grzinich is making in his work with manipulating captured sound. It is as if he has come to the conclusion that the sound environments he currently inhabits and records [the Estonian countryside of Mooste] are not enough to fully portray this world. Field recordings will and always have suffered from the same framing device that limits everything from painting to digital photography, and makes it very difficult to truly 'capture' a place with sound. Recordings separated from their context will always be lessened in some subtle way, a way in which Grzinich is compensating for by creating this synthesis of sound that evokes the slow time of village life. Rather than chase the inevitable disappointment of trying to simply document a sound world, Grzinich's method is to try to manifest the pace as well as the place.

Isn't it strange that the very nature of computer music with its 'limitless possibilities' for sound creation should attract so many who are devoted to documenting and capturing 'real' environmental sounds?  By using more synthesized sound Grzinich is really progressing the vocabulary of field recording into a wider world of abstract composition. He is creating an area that is rooted in place and yet becomes much more emotionally engaging than just presenting well-recorded 'sound-marks'.

This work rewards both loud listening on speakers and deep headphone listening. In fact headphones reveal a much more balanced relationship between the tones and the environmental recordings.

Both compositions are simple and uncluttered. The first piece is full of unrealised tension, created by the complex drone, providing a perfect drive and narrative for the popping and crackle textures of the field recordings, evoking everything from making popcorn, huge vats of boiling oil, stepping on dry twigs to footsteps and shuffling around indoors.

The second piece places more emphasis on the drones and the weight of bass that accompanies these sounds. For me it works much better. The atmosphere of this piece is one of almost a gentle siren - undulating like a slow thick liquid in waves, a very expansive sound - completely synthetic and yet densely evocative of still waters and reflected winter skies.

The absolute peak of this album is about twenty minutes into this second piece: as the wind and a creaking wooden building slowly overpower the distancing drones. It sounds as if Grzinich and his companion are drifting lost at sea, but also high in the air, suspended in a sort of impossible, rickety air balloon, waiting and listening to be gently put back to earth.

Reviewed by Mark Mclaren
Mark Mclaren works with sound and text. He produces a show on Resonance FM called 'Down With the Chairman'.

Andrew Liles
‘My Long Accumulating Discontent’

Is there anybody there? The lengthening drone of hollow reverberation suggests not.


A startling interruption from our left periphery lurches to the right – the eerie sound of a wind-up toy breaking its years of silence. We have to ask, “Should we be here?”

Intuition tells us no, but the curiosity is overwhelming.

Around the corner a serrated saw-wave is launched, ripping open the soundscape. The Ether Reel. We skip a beat when out of the darkness gunshots penetrate, a haunting actualisation of the lyrics that accompany, stolen from Video Killed the Radio Star.

Take cover and close your eyes – this can only be a bad dream. The clicking of footsteps is heard getting nearer. Their climax opens wide a new set and we slip through to lucidly observe our own Dream of the One Legged Woman (Version). She is dancing inside a grand piano whilst her cat whines and whimpers with every C#...


A disused gramophone is breathed new life and rouses our attention, its rusted radiance offering a growling male song from the half-light. The warped plate of vinyl cuts its own life short, becoming caught in limbo, the same groove visited and revisited to enchanting effect before drowsily giving in to a pulsating intermission in the form of Dormiveglia.

The slumber can’t last long though. A procession of spectral violin players sweeps by with a discordant glissando-quiver on their way to The Children’s Infirmary or Precious and Sugar Foot. We briefly hear the sound of children laughing as we reminisce over a long forgotten sepia-picture of A Cold Spring in Summerland, but the retreat is short-lived, for the light shifts the shadows to reveal skeletal exponents from Volcano The Bear gently bowing vibes and cymbals.

Outside, the drizzle turns to a heavy downpour and from within An Unkempt Garden a string quartet plays knotted textures. Blinded by lightning, we find ourselves washed down a plug-hole, a peculiar event with a peculiar motif to accompany. A lonesome saxophone laments at the bottom, bereft of its player.

A short journey on, the overhead protesting of gulls suggests we’re nearing the docks. The Captain’s Apprentice delivers a traditional English song, sung by the disembodied voice of Andrew King. This outstandingly chilling moment demands the attention of all who hear it, a wicked Siren’s call, whilst the ship’s crew look onward with determination and sail us back to our original location.

TZIK TZIK TZIK - an unexpected return

Our ears prick up to a cryptic illustration of The Mind as an Engine that Hitherto Ceases to Function Correctly. Voices are granulated and corroded, concrete sounds are arbitrarily set into a montage, like a film decaying and losing its narrative.

Fifty-four minutes ago the chapter began; now the final trinket-box opens and a miniature ensemble of mandolin, clarinet, fiddle and wooden kazoo spring up to recite The Sour Accompaniment in jaunty unison, playing our somnambulistic departure. This has been a macabre and dusty journey, an introspective look into a forever-twilight tome, its ghastly substance instilling a ‘car-accident’ type quality that commands a second listening.

Reviewed by David JC de la Haye
A composer and bassist who’s recently completed an MMus at Newcastle, and available for all types of musical debauchery…