from the Sonic Arts Network
Barry Anderson Bursary
Over the past year, the Barry Anderson grassroots bursary has supported 6 members projects, from regular composer meetings in Leeds to clubnights and workshops. The bursary aimed to provide members with direct financial support for their own projects through as direct and transparent a process as possible. Thanks to all those that applied and voted.
Past winners include:
Walked to Leicester City Museum from his house in Birmingham, whilst documenting sound and leaving cassettes at certain locations. This audio graffiti was then photographed and documented. Inside the envelopes with the cassette was a card questioning the finder and an address to send the tape back to.
Circle of Sound was a group sound exhibition featuring work by Jim Backhouse, Disinformation, Iris Garrelfs, Sharon Gal, Moshi Honen, Magz Hall, Kaffe Mathews,Tracey Moberly, Jason Synnott, Dan Wilson and DJ Wrongspeed. It brought together found sounds, sonic artefacts and reworked and re-contextualised art works and
celebrated the fleeting and fragmentary affects of sound.
David De La Haye
Ran a series of workshops between contemporary electronic music practitioners attending Newcastle University’s BMus/MMus courses and students/graduates of the folk music degree [BMus in Folk & Traditional Music] culminating in a live performance collaboration.
In January 2006, Sprawl turned 10 years old. To celebrate a decade of presenting experimental sound, New York sound artists Taylor Deupree and Richard Chartier performed a special live set.
Brownsierra (Pia Gambardella & Paddy Collins), travelled to Oslo to collaborate with the Trondheim Improvisers Ensemble and members of the public as part of the
KK summer festival.
Held a day of presentations and discussion in an informal and friendly atmosphere for people interested in sonic arts, so new ideas could be discussed outside the normal boundaries of academic study.
The Bursary will now close to applications. Thanks to the Barry Anderson Memorial Trust for their support of the scheme.
11 & 12 February
Sound Practice 2006
Goldsmiths College, London
SOUND PRACTICE 2006 provides an opportunity to take stock and reflect on the activities that have shaped the scene over the
past 5 years. It will also provide a forum in which to discuss the future of soundscape studies and pool new approaches and practices.
SENSE DATA AND PERCEPTION
Goldsmiths College, London
Concert featuring Donald Bousted, Yannick Dauby, Sebstian Lexer, John Leley, and material from the new Disinformation project "Sense Data and Perception" (last presented at FACT, Liverpool). Disinformation is an electronic music and installation art project, which uses electromagnetic noise produced by live mains electricity, lightning strikes, laboratory equipment, industrial and IT hardware, domestic appliances, rapid transport systems, magnetic storms and the sun etc as raw material for music and art.
12, 18, 19, 25 February
Rachel Gomme: Audience: A Collection of Silences
(performance / gallery)
South London Gallery,Peckham Road, London
Could you contribute your silence to a public collection? How does it feel to sit in silence with a stranger? Rachel Gomme is making a collection of silences, and requests contributions. You are invited to book a 10 minute interview to record your silence. All contributors will receive a CD of the Collection.
020 7703 6120 or www.southlondongallery.org
Legacies in Technology IV: The Sound of the City
Recital Hall, Birmingham Conservatoire
60 Years of Electroacoustic Music, incorporating the soundscapes of Barcelona, Brussels, Istanbul, Paris, Newcastle and Birmingham. Includes work by Pierre Schaeffer, Erdem Helvacioglu,Woo Jun Lee,
Stephan Dunkelman, Steve Shaw, Mario Verandi, Ellie Gregory, Douglas Doherty and BEAST with guest Diffuser, Jonty Harrison (who will also be giving a free workshop earlier in the day).
7 April - 3 June
Bolton Art Gallery
Debris Field, is an installation of found objects and sounds by contemporary artists from the UK and abroad featuring work by Max Eastley, Tom Philips, Keith Rowe, Russell Mills and Loren Chasse.
2 - 12 March
AV FESTIVAL 06
Newcastle, Gateshead, Sunderland, Middlesbrough
The AV Festival is a new bi-annual international festival of digital art, moving image, music and new media which takes place in the North East of England. Under the rubric Life Like, the festival will explore the interplay between technological and biological life as explored by artists and presenting over 90 new commissions, exhibitions, screenings, concerts, workshops and events
Sonic Voyages: Pictures in Sound
A concert of sound and video art curated by Neal Farwell. For this concert, video and live performance join with the dynamic surround sounds of BULO, the Bristol University Loudspeaker Orchestra.
CCMIX - Summer Intensive in Electronic Music 2006
The Centre de Creation Musicale Iannis Xenakis (CCMIX) announces its 12th annual summer session. The course will take place from Monday, July 3rd - Friday, July 28th, in Romainville (Paris), France. Faculty will include: Trevor Wishart, Agostino de Scipio, Eduardo Reck Miranda, Sharon Kanach, Randall Neal, Ana Paula Portilla, and Gerard Pape. Individual studio work is at the heart of this program. As part of the 2006 Summer Intensive, CCMIX will also offer a series of seminars and studio sessions devoted to the issues of 'sound and image' in the work of Xenakis and in the larger multimedia context of today. Consider a creative experience in Paris this summer. More information
is available by email from Randall Neal, Head of Pedagogy.
Opportunities for Artists
Canopy New Music is an agency being set-up in the North East of England to give new/experimental musicians opportunities to exhibit their work or share their teaching talents. The music might be acoustic or electronic, unearthing forgotten treasures or exploring the latest technologies - if the works are exciting and intriguing curiosities, we’re interested.
For more information, email email@example.com
David JC de la Haye, Deputy Editor for - http://www.furthernoise.org
EXPERIMENTAL TELEVISION CENTRE ANNOUNCES FINISHING FUNDS 2006
FINISHING FUNDS provides individual artists with grants up to $2,000 to help with the completion of diverse and innovative moving-image and sonic art projects, and works for the Web and new technologies. Eligible forms include media as single or multiple channel presentations, computer based moving-imagery and sound works, installations and performances, interactive works and works for new technologies, CD ROM, multimedia and the Web. We also support new media, and interactive performance. Work must be surprising, creative and approach the various media as art forms; all genres are eligible, including experimental, narrative and documentary art works. Individual artists can apply directly to the program and do not need a sponsoring organization. Applicants must be residents of New York State; students are not eligible. The application requires a project description, resume and support materials, including a sample of the proposed project. Selection is made by a peer review panel. About $25,000 is awarded each year. Announcement is made in late May.
The program is supported in part by public funds from the New York State Council for the Arts, a public agency, and by
The Media Foundation.
Postmark Deadline: March 15, 2021
Guidelines and applications are available on the web at http://www.experimentaltvcenter.org/ in the ETC News Section or by mail or email.
Call for works
Beginning its fourth year, with more than 30 performances around the world, the 60x60 project is looking for more recorded works for it 2006 installment.
Vox Novus is inviting composers to submit works 60 seconds or less in length to be included in its fourth annual 60x60 project. 60 compositions will be selected to be performed continuously in a one-hour concert, in conjunction with multimedia elements and an analog clock marking the passage of time.
During the concert each of the 60 pieces selected will begin precisely at the beginning of the minute, this will mark the end of one piece and the beginning of another. There will be no pause between the pieces. Works may be less than 60 seconds in length, but may not exceed 60 seconds. Works selected that are less than 60 seconds long will be "padded" with silence either before, after, or surrounding the composition. Please note that the total duration of the work including silence may NOT exceed sixty seconds.
The 60x60 project's definition of a recorded work is as follows: any work created as a musical composition which is captured on recorded media, which does not require live performers for its production in broadcast at concert halls, radio, multi-media, etc. Its creation can include, but not limited to, acoustic instruments, voice, environmental sources, and computer (Sampling, MIDI, C Sound, ProTools, etc.)
Acoustic compositions should be submitted with the understanding that it is their recording that is of prime importance and what will be used to determine its selection. Scores of works are strongly discouraged and will not be used in the selection process.
Excerpts of larger works are strongly discouraged. 60x60 is a project of "signature works" and short works created specifically for the 60x60 project. Works generated from procedures (i.e. mathematical matrices, organizational systems, or computer programs,) remixed works, or themes and motives recomposed from the composer's own work are acceptable.
The call is open to composers of any nationality, age, or career stage. Works submitted must not have been previously performed or broadcasted. Compact Discs that include the audio submission must be labelled with the composer's name and the title of the work. The submission form must be sent with the submitted work. Submission forms must contain the composer's name, address, email, phone number, composition title, composition length, and track position on the compact disc. Biographies and program notes may be included on a separate sheet, but must be typed and each may be no longer than 100 words in length.
Multiple works may be submitted. Each work must be noted on the submission form(s) and clearly indicated on the CD. Do not send originals! No works will be returned, and may be performed in subsequent performances after the debut concert. All submissions must be postmarked by May 15, 2006. Selected works will be announced on September 15, 2006. Submission of the work(s) on compact disc must be accompanied by the submission form and sent to:
c/o Robert Voisey
Radio City Station P.O. Box 1607
New York, NY 10101 USA
Deadline: Submissions must be postmarked by May 15, 2021 Submissions must include: Submission Form (including bio and program notes) and a labeled CD containing the submission in audio format. Submission forms can be downloaded at http://www.VoxNovus.com/60x60/Call.htm or by written request to Vox Novus .
Works selected for the 2006 60x60 project will be announced on September 15, 2006. Composer will be notified of the results by email or they can visit http://www.VoxNovus.com
Any questions regarding the call for works can be addressed to Support@VoxNovus.com or
60x60 Robert Voisey,
Radio City Station,
P.O. Box 1607
ICEECS 2006 Call for Papers
Call for papers - preliminary
In the era of the digital world and the Internet, cross-media production, business models and distribution are being powerfully supported and pushed forward by the emergent technologies that help the industry to reduce the cost of media production and distribution, while optimising productivities. AXMEDIS2006 aims to explore all subjects and topics related to cross-media and digital-media content production, processing, management, standards, representation, sharing, protection and rights management, to address the latest developments and future trends of the technologies and their applications, impacts and exploitation. We are particularly interested in exchanging concepts, requirements, prototypes, research ideas, and findings which could contribute to academic research and also benefit business and industrial communities.
Recommended topics include, but are not limited to the following:
* Automatic cross-media production, collection, crawling, composition, formatting, P2P, etc.
* Formats and models for multi-channel content distribution
* Multimedia standards, e.g. MPEG-7, MPEG-21, DMP, etc.
* High quality audio visual coding
* Multimedia music representation and formatting
* Watermarking and fingerprinting techniques
* GRID and distributed systems for content production
* Real-time streaming media distribution
* Multimedia middleware
* Workflow management systems
* Web services for content distribution
* Semantic Web Distribution with P2P architectures
* Legal aspects related to digital content
* Collecting and clearing of rights and licences
* Business, payment and transaction models
* Digital Rights Management (DRM), models tools, and interoperability
* Formats and tools for Content Aware
* Archives managements for cultural and educational applications
* Synchronisation technologies and solutions
* Systems and approaches for content production/distribution on demand
* Digital content user interface
* Digital content accessibility
* Novel applications and case-studies of relevant technologies
Research Papers: Papers should describe original and significant work in the research and industrial practice of related topics. (i) Long papers: up to 8 pages, will normally be particularly focused on research studies, applications and experiments (ii) Short papers: up to 4 pages, will be particularly suitable for reporting work-in-progress, interim results, or as a position paper submission.
Applications and Industrial Presentations: Proposals for presentations of applications and tools, including reports on the application and utilisation of tools, industrial practices and models, or tool/system demonstrations. Abstract: 2 pages.
Panels, Workshops and Tutorials: Proposal for panels, workshops and tutorials are invited. Please contact firstname.lastname@example.org for details. AXMEDIS and other Tutorials will be hosted at the AXMEDIS2006.
All submissions and proposals are to be in English and submitted in PDF format by email to email@example.com on or before 18 March 2006. Document style is available at the conference website. The conference proceedings is to be published by the IEEE Computer Society Press. Selected papers from the conference will be considered for publication in special issues of one or more major peer-reviewed Journals in this domain.
Call for Works - Electroacoustic Video
The Department of Music at the University of Bristol, UK, invites submission of works combining electroacoustic music and video for concert presentation on 26 April 2006. Proposals that include a live solo performer will also be considered. Works can be of any stylistic or aesthetic orientation. We welcome especially pieces, collaborative
or solo, that put sound and image on an equal footing, where there is a closely-worked integration, where the whole may be seen as much more than the sum of its parts...
The concert is in our regular electroacoustic series under the title Sonic Voyages, part of our season of weekly Wednesday lunchtime events. These concerts draw substantial audiences from a wide-ranging clientele, and are held in the Auditorium at the Victoria Rooms, a historic landmark for the city of Bristol, and home of the Department
Video will be displayed in large-screen projection. Sound will be performed on BULO, the Bristol University Loudspeaker Orchestra, a stereo-to-many diffusion system which can also be configured for n.1 surround and octophonic playback.
The preferred format for submissions is on video DVD (PAL or NTSC). Other media may be considered.
Submissions will be reviewed as they arrive, and should be received at the latest by Wednesday 22 March 2006. We regret that we cannot return materials unless they are accompanied by an SAE. In fact, we would much prefer to retain them: works that are not selected for this concert will be considered for future events and held as a
For further information contact firstname.lastname@example.org, or send your materials direct to the address below.
Publicity wording from our concert brochure:
Call for Sound Works In Mp3 Format
WILD INFORMATION NETWORK
The Department of Ecology, Art, and Technology
Open Call for Sound Works In Mp3 Format - Deadline April 1, 2021
If we encountered a pod-cast, or a streaming radio server in the woods, in the “natural” environment, what kind of information would be distributed? If there was an entity, a life-form, or a “natural” other that disseminated sonic information, wild-information, how would this information sound? This project encourages artists to create audio sound works that imagine the “voice” of the ecological other and explore its translation into the language of digital art technologies.
If “nature” encountered a pod-cast, or a streaming radio server in the woods, in the “natural” environment, what kind of information would be distributed? This project could take on unpredictable, interactive, and experimental dimensions as it also encourages artists to consider themselves as human animals, beings within “nature” producing sound works for unknowable others, e.g. ferns, salamanders, flowers, mosquito, beetles, flowers, deer, coyotes, bear, water, etc.
WILD INFORMATION NETWORK is a project initiated by Cary Peppermint and The Department of Ecology Art and Technology, a performative collaborative of artists seeking to create works that explore issues that lie at the intersection between new media technologies and the environment.
The project will establish a sonic field of information produced with renewable energy, digital technologies, and ecological imagination. The information will be a continuous, solar-powered series of audio transmissions located relatively deep in the woods of 940 acres in the upper Catskills of New York State. Visitors and hikers to the back woods location will use 802.11 wireless devices, bluetooth-enabled devices, or transistor radios to receive sonic information through digital downloads, and radio transmissions.
This project is made possible by generous support from NYSFA's Decentralization Grant, The Upper Catskills Community Center for the Arts, and The Pine Lake Environmental Campus of Hartwick College.
Call for work
Music, Art and Climate Change In Association with Newcastle Science Festival 2006 & Furthernoise.org
You are invited to submit either an electro / acoustic composition or a visual art presentation lasting no longer than 10 minutes on the theme of climate change.
The winning entries and a selection of runners-up in each category will be presented in a lunchtime concert in King's Hall, Newcastle University on Friday 17th March.
A CD/ROM of the best entries will be compiled by http://www.furthernoise.org and will be available at the concert or through the web site. The winners in each category will also be presented with prizes of £150.
Although the prizes are only available to students, all submissions will be considered for inclusion on the CD-ROM.
The deadline is the 10th February 2006.
Any questions regarding performance requirements should be discussed with Alison Lewis on  222 6093 or mailto:email@example.com
To submit, send links to your MP3's [not the actual files please!] to mailto:firstname.lastname@example.org or alternatively send a CD marked 'music and climate change' to - 86 Sidney Grove, Fenham, Newcastle-upon-Tyne, NE4 5PE.
Call for Work
BENT 2006 CIRCUIT BENDING FESTIVAL OPEN CALL
The Tank is currently accepting proposals for:
Bent 2006 : The Third Annual Circuit Bending Festival
April 19-23, 2006
Proposal Deadline: February 10, 2021
Each year the festival features daily workshops, art installations, and evening concerts from a wide variety of international performers and artists. This year we are working in collaboration with Harvestworks as part of their ‘Benders and Coders’ series to co-produce the festival.
We are looking for proposals for the following:
Workshop Leaders: each year we offer general circuit bending workshops for beginners and more advanced workshops on specialty topics for more seasoned circuit benders. If you feel you have a subject you would like to lead a workshop on, please provide us with a one-page description of that workshop, as well as links or examples of your current and past work in the field.
Installation Artists: We are looking for up to three artists who can commit to spending at least 15 hours in our gallery space over the course of the festival creating site-specific pieces of art that somehow incorporate circuit bending. We will provide space and as much materials and electronic equipment and tools as we are able. Please send a one-page proposal of what you would like to do and examples of your past work. Also, please be able to commit to spending time in the gallery during the festival and be prepared for a shared and at times hectic work environment - no white walls here.
Artwork: in addition to installation artists we are also interested in having artwork up on the walls that fit into the spirit of the festival from people who might not be able to join us in person or who can’t commit to working in the space during the festival. Artists are responsible for shipping/transportation costs, and should include special instructions for mounting and maintenance. Please submit digital images of your work and a brief description.
Performers: we will be having 4 nights of performances during the festival. Please submit a brief description of your work, an mp3 or link to audio online, and any visual documentation of your performance.
Those of you who have attended in previous years know that we are a homebrew, volunteer run organization fighting to maintain a foothold of experimental arts in new york city. Last year we were able to provide $20 stipends to performers and a few travel grants. This year we hope to be able to offer much larger stipends and more travel grants, but we will not know until late February when we hear back from our granting organisation. Please keep this in mind when applying.
Applications should be emailed to: email@example.com
Or mailed to:
P.O. Box 2026
New York, NY 10013
Francisco López w/ AndreyKiritchenko
Francisco López has been a sound artist for twenty years. His recordings span over 140 record labels worldwide and he is generally considered one of the leaders in underground experimental music. Describing his work as ‘belle confusion’, López’ releases arise mainly from the processing of environmental recordings and from collaborations with an eclectic array of artists.
Insert CD: A multitude of insects crawling over a fallen beast – this will be an unpleasant experience… This quickly subsides for the main body, as if travelling inside the corpse. A womb-like feeling envelops the listener. Simultaneously warm, but threatening. A few high frequencies can be heard, but these are very dead, like gas moving inside viscera as it cools. The outside world is far away.
One fifth of the way in. Still inside something, but with other living presences. Very organic sounding, possibly at microscopic level, the soundscape is teeming. Again, the imagery this conjures up is not pleasant, but equally, very natural. There is no malice here, no scope for good or bad, just nature taking its course. Decay.
Two fifths, and smaller still. Still inside, but the sound has become bigger. There is more detail, more space and a greater array of fauna, whose devouring noises combine to create the overall hum of a huge organic machine.
Suddenly, a little before halfway, we are pulled out of this still warm, fleshy corpse, to the outside world. Some mammal is feasting. Despite not sounding quite so real, we are in more familiar surroundings. It is cold.
Gradually, the beautiful, ethereal hum fades back in, but this time, instead of moving inside the corpse, we move away from it. The sound becomes larger – with the same ‘organic machine’ presence as before. Imagine this time, a vast, deserted, jungle. Distant creatures haunt the environment, and a sense of desolation pervades the spectrum. Wind noise, no matter how machinic it may sound here, is brought into sharp focus and the subject becomes totally alone.
Hints of some resonant melody appear, along with activity of some description. Somehow, we are subverted from outside, back into the inside of something. Or are we? Extimacy. I won’t say lost, but definitely not where we were. Sub-bass places us very deep within something, but the detail suggests open water. Four fifths, and we enter somewhere entirely disorienting. There is strange, unsettling activity. Then, nothing.
Then something. Back to reality, and closer to more usual electroacoustic fare. It would be unkind to rate this ‘coda’ as an afterthought – it is outstanding in its own right – but seems to have no narrative link with the previous 42 minutes. This is followed by more nothing, then a very quiet, even more alienating second coda.
The piece is technically beautiful, and benefits from very close listening. In my humble opinion, it would profit from an ending more in keeping with the overall theme. In the main however, this piece displays real mastery, transporting the listener deftly from micro-organism level to a sublime, yet earthly vastness. 8/10.
Reviewed by Andrew Fletcher
Andrew Fletcher has been working as a sound artist for five years, during which he has completed a number of projects for film, multimedia companies and engaged in a number of collaborations. His work varies between quirky pop, to electroacoustic and free improvisation, and he is currently completing a Master's degree at the University of Newcastle.
Label: Cajid Media
Melbourne-based sound artist Thembi Soddell’s second solo release, Instance, released on Cajid Media, is a forty-one minute work split into seven sections. Formed from field recordings and generated sound, it is described as an interpretation of the artist’s dreams.
It begins in near-silence, and develops into a quiet, but aggressively resonant tone before unexpectedly exploding into loud, intense crackles of dust and noise, and then, before you can really identify what you are listening to, it suddenly returns to distant, low level white noise, gently building into a dissociated texture of distant activity. Half-identified voices penetrate the dark like unrecognisable shadows, and as you strain to locate their source or timbre, brutal industrial sound startles you back into a more detached attention, forcing you into isolation from the humanity of the voices in the distance. Short bursts of layered noise, like hailstones or soil raining on a coffin lid break the growing tension, replaced by jet engines, a rising and maintaining of energy, cut into by drops in sound, like flashes of pure darkness penetrating a terrifying twilight. Twitches of black noise maintain this indefinite sense of shock and awe, of constant repositioning and disorientation, suggesting an uncertainty of perception, as if all this terror is being created inside your own mind.
The thematic here is the interpretation of dreams, articulated through the approach and retreat of threat. Soddell ably maintains a sense of fear and powerlessness by keeping the listener in a constantly shifting position in relation to the developing sounds. Sometimes you are jolted out of your chair by the sudden arrival of a terrifying presence, sometimes its slow approach builds a sustained tension that is only released by its unexpected disappearance. These audio apparitions are always ominous, alienating and fearful.
Soddell’s work with dynamics is extremely accomplished, alternately forcing close attention and then rewarding it with shocking explosions of activity that bring any absent-minded trains of thought right back into a brutal present. This strategy is analogous to the remembering of a dream, the recombining of dreamed events into a comprehensible sequence. The work suggests all the uncertainty of a nightmare recounted, with all its gaps and discontinuities of narrative. The virtue of this for the listener is that it will keep you on edge throughout.
Instance is the soundtrack to a descent into somewhere dark and terrifying, which maintains an atmosphere thick with the threat of unexpected violence. If you follow the instructions on the sleeve, and listen to it LOUD, it might just make you want to leave the lights on at bedtime.
Reviewed by Michael Day
Michael Day is an artist and lecturer based in Cardiff and Sheffield.