News from the Sonic Arts Network

EXPO 966 Commissions

The call for submissions for this years weekend Expo in Scarborough resulted in some excellent proposals. We are pleased to announce that the two successful commissions are "Reconstructing Scarborough, Or the Absent Minded Seaside" by Ergo Phizmiz and "Violin Motion" by Luke Styles.

Ergo Phizmiz perfoming at Tate Modern.

Ergo Phizmiz is a UK based sound artist whose work deals with the reformation of the familiar into the unrecognisable. An international artist, he has exhibited in Brussels, Tokyo, Cologne and London, most recently as part of the Ether Festival, Konnekted Festival, and as part of Christian Marclay’s “The Sounds of Christmas” exhibition at the Tate Modern.

His proposed piece is a sound collage, reconstructing the Scarborough he remembers from childhood.  Using old records, field recordings, open-source audio and electronics, Phizmiz re-creates a dream like fantasy version of the seaside town he vaguely recollects.  Accompanied by a series of digital photographs, an audio-visual installation will be created.  The commission will also act as the signature piece for EXPO 966, to be used in alternative spaces around the conference – a backdrop to the weekend.

Ergo Phizmiz

Luke Styles is an Australian born composer who relocated to the UK in 2001.  The winner of numerous awards, both in the UK and internationally including, Young Australian Composer of the Asian Composers League and the Moscow Carner Composition Award.   Recent performances have taken Luke around the UK as well as Tokyo, Melbourne, Spain, Russia, Mexico, Turkey and Italy.  He has also recently formed his own contemporary music ensemble (of which he is Director and Conductor).

Luke Styles

Styles will create a work for solo violin and Max/msp, wherein the acoustic and electronic interact in an intimate and co-dependent fashion.  The violinist will perform fragments that reflect the space and environment in which the performance takes place.   The electronic material will be provided by the sounds of the audience before the performance and transformed through Max/msp.  The piece deals with ideas about memory, in particular extremely recent memory suggesting that the immediate and recent past is not detached from influencing the impact/understanding of the music in the hall. This will be performed at the Expo.

The full programme for Expo 966 is currently being developed and more information will be available on this soon.

Sonic Arts Network is Recruiting...

We are currently seeking a Project Manager for the Sonic Postcards education project. See the Opportunities section below for more details.


9 & 10 February
INTERPLAY 3 – 2005
Spitz, London

Sprawl invites a selection of International artists for 2 nights of unique live collaborations, traversing the sonic realms of minimal & post-techno beats, new dub, voice, pop, jazz and improvisation. Wednesday (9) features Pole, Deadbeat, Markus Schmickler, amongst others. Thursday has Stephan Mathieu , SI-CUT.DB, Leafcutter John and Janek Schaefer, scanner and Iris Garrelfs.
BOX OFFICE: 0207 392 9032,

9 February
291 Gallery, London

French multi-instrumentalist Dale Berning performs her new semi-improvised material, fusing new technologies and traditional instrumentation collected from around the globe. James Dunn (Grace & Delete, Limn) and Peter Blundell (Palau Beams, Leap-Seconds) form the duo 'Temperatures', will be bringing the noise with a hot stew of lo-end riffage, electronics and freewheeling drumming.

14 February
(live performance)
UEA School of Music, Norwich

The legendary improvising group, featuring John Tilbury and Eddie Prevost.

16 February
Denis Smalley
(talk and concert)
Keele University, Stoke-on Trent

The event begins with a discussion of The Music of Denis Smalley: style, materials, ideas followed by a performance of Pentes,Ringing Down The Sun and Resounding.

17 February-15 May
Christian Marclay
barbican, UK

Retrospective of New York based artist Christian Marclay. Featuring the piece Video Quartet (2002) plus an audiotape of the collected work of the Beatles crocheted into a soft pillow, a graveyard of plaster cast telephone handsets scattered across the gallery floor and an oversized drum kit. There is also a performance of the 1996 Graffiti Composition arranged by Steve Beresford and Tabula Rasa performed by Marclay and DJ Flo Kaufmann on 22 March.

18 – 20 February
Sonic Interactions
(Performance / Conference)

Friday 18th February sees a performance of Pousseur Symposium: The Scambi Project with Henri Pousseur. Following that is a two-day postgraduate conference on interactivity and sonic art with Key note presentations by Lawrence Casserley and Alejandro Vinão. It closes on Sunday (20) with the Interlace Concert.

21 February
UEA School of Music

internationally-renowned cellist Frances-Marie Uitti and composer Joel Ryan (computer and sound processing).

23 February
Legacies in Technology
Birmingham Conservatoire, Birmingham

The first in a series of commuter concerts dedicated to diffusing electroacoustic classics of the twentieth century alongside new works from the twenty-first. Featuring Luciano Berio, Simon Hall, Jamie Bullock and new works by Aris Delitheos and Steve Shaw.

24 - 26 FEBRUARY
University Drama Studio, Sheffield.

Three evenings of electroacoustic music featuring Francis Dhomont and Andrew Lewis. The series begins on Thursday 24th February and celebrates a partnership of Yorkshire-based reativity with brand new sonic art from composers living and working in Leeds, Sheffield and York including Ambrose Field, Adrian Moore and Ewan Stefani. Andrew Lewis (25) presents Four Anglesey Beaches. Dhomont gives his Cycle Du Son on 26th.
(0114) 2220499/0470

8 March
Transformations 2
Academy Concert Hall, Glasgow

A Concert of Works from the electroacoustic studios of the RSAMD and Krakow Academy of Music including Tomasz Lida's Spiewna, Jakub Ciupinski's MakyoII and a new work by Diana Simpson.

9 March
Transformations 3
Academy Concert Hall, Glasgow

A concert featuring Francis Dhomont's Forêt Profonde (1996) and Bernard Parmegiani's Dedans-Dehors (1977). A rare opportunity to hear theser works performed over the Academy's multi-channel sound system.

10 March
University of Manchester, Manchester
Lunchtime concert of mixed electroacoustic works for Cello with Neil Heyde (Cello) performing works by Daniel Barreiro, David Berezan, Brian Ferneyhough.

11-13 March
CBSO Centre, Birmingham

A weekend of new sounds from Birmingham and around the world featuring special guests Bill Fontana, Denis Smalley and John Young. Friday will feature a 45 minute work by BEAST composer Pierre-Alexandre Tremblay performed with 'drum-kit and live electronics'.

18 & 19 March
UK MicroFest 1 ~ Wild Dog 1
St. Cyprian’s Church, London

A celebration of microtonal music offering a lively, controversial and artistically compelling forum which will demonstrate the depth and diversity of microtonal practice in the UK. Featuring Contour, the German-based trumpet and percussion duo of Stephen Altoft and Lee Ferguson; viola player Elisabeth Smalt from Amsterdam and from London the recorder duo Rare Bird and ‘cellist Robin Michael. Invited speakers include Bob Gilmore, composer Christopher Fox and founder of the Centre for New Musical Instruments Patrick Ozzard-Low.


Sonic Arts Network is looking for a Project Manager to join the Sonic Postcards team and manage a number of innovative and creative sound projects in schools across the UK. 

For further information and a job description visit our website or call Dan Stone on 020 7928 7337

To apply please send a CV and covering letter with details of any relevant experience and skills to:

Sonic Postcards Project Director
Sonic Arts Network
The Jerwood Space
171 Union Street

London SE1 0LN

or by email to

Salary £18 000 p.a.

The post is a full-time position based in The Jerwood Space, London SE1

Closing date for applications Friday 4th March.

Interviews will take place on Friday 11th March.

TWO Lectureships at SARC

Two Lectureships in Multimedia Research Haptics & Visual Technologies
Sonic Arts Research Centre
Ref: 05/K457B

These posts are available to commence as soon as possible and the successful applicants will be expected to undertake research, which is relevant or complementary to that of the current staff in SARC ( The appointees will also contribute to Masters teaching programmes and PhD supervision in relevant and cognate areas, and will also be required to maximize research funding through the UK research councils, or other funding bodies.

Applicants must have at least an upper second class honours degree, or equivalent primary qualification, in Electrical and Electronic Engineering, Computer Science, Music or Music Technology or a related area, and hold, or be expecting to hold within 6 months, a PhD in a
relevant subject. A minimum of 3 years research experience in haptics or visual technologies research is essential. Applicants must also be able to demonstrate a strong research track record, or be able to demonstrate research potential commensurate with age and experience.
Additional criteria will be given in the further particulars for the posts.

Informal enquiries may be directed to Mr Chris Corrigan, tel: 028 90974830,
Salary scale: Lecturer A/B £23,643 - £35,883 per annum
Closing date: 4.00 pm, Friday 18 February 2021

The University is committed to equal opportunity and selection on merit. It therefore welcomes applications from all sections of society.

Applications should be addressed to the Personnel Manager, The Personnel Department, Queen's University Belfast, Northern Ireland, BT7 1NN. Tel: 028 90273044, Fax. 028 90911040,

Amplifier, the Youth Music funded project is looking for Cheshire based Musicians to work with them and their County partners on a freelance basis as workshop leaders. Amplifier is an innovative two-year strategic youth music programme for young people aged 13-18, across Cheshire, Halton and Warrington. As a musician on Amplifier’s database, you will be able to tap into Amplifier's training opportunities and network with other organisations across the county.

To work with Amplifier we ask that musicians have self employed status and have recent CRB clearance (we are able to give advice of how to obtain these.)

For an application form contact:
Janet Walmsley, Amplifier Administrator
The Pyramid, Palmyra Square South, Cultural Quarter, Warrington, WA1 1BL.
01925 442287

Amplifier - boosting Cheshire youth music,
Pyramid, Palmyra Square South, Cultural Quarter, Warrington, WA1 1BL.

Tel: 01925 442287
Programme Manager: Martin Milner
Administrator: Janet Walmsley
Training Coordinator: Andrew Marriott

Funded by Youth Music

Exploring marketing and audience development through good equal opportunities practice will help you market your music group, broaden your membership and expand your audience.

Two free evening seminars with Robin Simpson, Deputy Chief Executive of
Making Music.

Thursday 24 February 6:30-9:00pm Willesden Green Library Centre, London
Thursday 17 March 6:30-9:00pm Greenwich Theatre, London
Refreshments provided

'A commonsense approach with relevant networking opportunities'

Contact name: Bethany Cook and Heather Tomala, Training and Development Officers
Phone: 0870 903 3780

The Midi Music Company is South London's leading music & technology education organisation. We create engaging music, technology & media projects primarily targeted at children and adults aged five to thirty.

We are looking to expand the membership of our Board of Directors and our events arm - The Midi Music Company Events Ltd. The Board of Directors meet four times per year and individual Board members work with the Chairman, Executive Director and staff team to develop various aspects of the company's programme. The position of Board of Director is unremunerated work.

Our programme includes instrumental tuition, short & part-time courses, creative industries careers advice service, outreach projects, international youth arts initiatives and special events. Successful candidates need to have experience and expertise, preferably at a senior level, in any of the following areas; Education & Vocational Guidance, Public Sector, PR & Marketing, New Media and Events Management.

The Midi Music Company celebrated its 10th Anniversary in 2004.

If you feel that you would like to join our team and make a positive contribution to our creative programme, please send a formal letter of application with your CV to:
Wozzy Brewster, OBE - Executive Director, The Midi Music Company, 77
Watsons Street, Deptford, London SE8 4AU 020 8694 6093


Closing date for applications: 11th February 2005

Computer Music Journal invites applications for the position of editor of news and announcements. The position entails an average of 3-6 hours per week or less, and has no geographical limitations. Detailed requirements are listed below.

This is a volunteer position: there is no financial compensation, but the appointee will gain experience in publishing, and will be able to participate in the "cutting edge" of the computer music field. The appointee will be listed by name on the inside front cover of each issue on which he or she works, and on the Journal's Web site. The appointee will be invited, but not required, to attend the CMJ editors' annual summit meeting in the USA.

The first year of the position will be treated as an internship, unless the appointee is exceptionally well qualified and has already achieved widespread recognition for his or her career in computer music. In that case, the appointee's title will be Editorial Consultant; otherwise, it will initially be Editorial Intern. Applicants should demonstrate both eagerness for success as an editor and a commitment to computer music. Interests might include composition, performance, engineering, or research topics in the field. Superb English writing skills are essential. A solid knowledge of the computer music field will be invaluable in ascertaining the priority of potential news items, as well as in editing the chosen items. Members of underrepresented groups, such as women, are encouraged to apply, as are all other qualified applicants.

The current editor of news and announcements, Richard Zvonar, has resigned from the osition, owing to serious illness and competing demands on his time. We wish him well and sincerely thank him for his contributions to ten issues of Computer Music Journal.

Your application should include:

(1) a brief letter explaining your interest and qualifications.
(2) a curriculum vitae, including education, editorial, or clerical
work experience, and any publications.
(3) names, phone numbers, addresses, and email addresses of references.
(4) one or more short samples of your writing on any topic
(a computer music topic is helpful but not necessary, and the
samples need not be published).
(5) the date when you can start, preferably as soon as possible
and in any case no later than March 1, 2005.

Review of applications will continue until the position is filled.Applications accepted by email; send to
Hard-copy applications accepted; send to: Editor, Computer Music Journal, 2550 9th Street #207 B, Berkeley, CA 94710, USA. (Materials will not be returned.)

For questions, please contact the Editor at
(Responses will be sent from

Sound Technician required for Urban Expansions tour Once Upon A Time In Wigan

7 March to 5 June 2020 inclusive
4 week rehearsal in Manchester and 8 Week UK tour
Holiday week 11 April
Middlescale venues, week runs
Fee, no deductions, £350 per week to join tech team of four others
Tour allowance of £206 per week for touring weeks
Relocation £69 per week for work at company base in Manchester if required.Please contact Penny Mayes, Dramatic Solutions, 47-49 Wood Street, Barnet, Herts, EN5 4BS Tel: 020 8441 8575 Email:

(for 6 months initially)
£15,225 - £16,968 (pro-rata)
Part Time, 18.5 hours

A post has become available to assist in the running of FUSELEEDS06. The post will provide clerical and administrative support in the presentation of Leeds International Concert Season (LICS) and offer additional support as required to the other members of the section.

The post will involve the development and project management of education projects for FuseLeeds06, including liaison with partners, research into potential external funding sources, and the co-ordination of funding applications in consultation with the Principal Music Officer. The post will include working unsociable hours including evenings and weekends.

The post is based in Cathedral Chambers, although the section will relocate to Leeds Town Hall on completion of refurbishment.

For an informal discussion of this post, please contact Principal Music Officer; Matthew Sims. 0113 247 8335 or

Application forms can be obtained from the Human Resources Section, Learning and Leisure Department, 8th Floor West Merrion House, 110 Merrion Centre, Leeds LS2 8ET, or Telephone Leeds (0113) 247 8382, Minicom Leeds (0113) 247 6004, e-mail address

Artist is looking for:
People who want to tell their story about conception and problems and/or ‘miracles’ with it.
Recordings will be used in an international audio art piece.
All languages welcome.

Recording sessions take place in Leeds on the 17th and 18th of February 05, in the Seminar Room of the Henry Moore Institute (Basement Level), 74 The Headrow, Leeds.
Times: between 11:00 AM and 14:00 PM and from 15:00 -17:00 PM.

For more information please email:
Or just drop in on the dates above.

Further info on the artist’s work can be found on:

We are announcing an open call for an airport residency project in conjunction with the Symposium. The City of San Jose Public Art Program, in collaboration with the San Jose Airport Department is pleased to announce an artist residency program as part of the ISEA2006 Symposium and ZeroOne San Jose: A Global Festival of Art on the Edge being held in August 2006. The outcome of the residency is to create a project that activates the Airport as a gateway to the community--local, global, and festival. The primary presentation of this residency project will be on the San Jose International Airport property.

EAST is an international open submission exhibition, held annually at Norwich Gallery and Norwich School of Art and Design. There are no rules about who may apply. All the works that will feature in EAST 05, visual or aural, must be transmittable through the internet or other electronic media. One of the objectives of EAST 05 is to challenge artists to extend their practice. We are looking for projects in real time of lengthy duration and which will stretch the limits of presently available technology. The project will need to be transmitted to EAST 05 in Norwich for the seven weeks of the exhibition. We will work with the selected artists to develop ways in which their ideas can be presented through the opportunities offered by new media. All the work in the exhibition will be presented through electronic media.

for more info see


At the time of the centenary of Jules Verne 's disappearance (1905), some of his novel titles come back into our memory like the many divings into imaginary worlds that they always bring : "De la terre à la lune", "Le tour du monde en quatre-vingt jours", "Vingt mille lieues sous les mers", "Voyage au centre de la terre", "La chasse au météore". His universe of fiction where machines allow voyages in the seas, countries and other worlds were not utopian but simply ahead of their times, rich of space, inventions and sounds. His writings cover many topics. The subject of one of his stories was an adventurous journey around the globe, causing echoes of his talent to spread across the four corners of the world.

So it is proposed to those who heard them to carry out a work "oeuvre ouverte", a musical world of sounds encouraging the listener to dive-in and revisit his youth memories by recalling the sounds of raging monsters, humming engines, silence from deep seas and sidereal spaces...

Then, the suggested topic for this year's overture project is : "future worlds, automats and machines to project oneself there". This work overture project is a musicians homage to the author who could tell up to the comma the adventures of Mr D-sharp and Mrs E-flat.

Every year, the participation of composers and sound artists is more and more important to the overture project. This is the reason why the organizers have decided to change some terms of the proposal :

_All works will be played continuously during festival "Synthese 2005"
_Listeners will communicate their appreciations and preferences
_From this base, the organizers will distinguish twenty pieces
_These 20 pieces will be programmed in two concerts of the serie "Actuelles internationales" at the 36th festival "Synthese 2006"

The other conditions are not modified :

7. The work overture project is opened to all composers, creators and sonic sculptors who wish to participate.
8. All works have to be finished before mid - May 2005. Works have to be on this theme only, otherwise they will not be played.
9. The duration of your work must span not less than 4 and not more than 6 minutes.
10. Your work must be exempt from all broadcasts and reproduction rights, excepted of course author's royalties.
11. You must send your work using one of the following media: CD, Dat.
12. Your work will be kept at the IMEB's International Sound Library.

To take part in the work overture project you must accept all the conditions in the agreement.

Send us exclusively by email your programme note, biography and photography before April 30, 2005.

All information sent to us will be published in the Festival program at
Please send us your work between April 30, 2021 and May 15, 2021 the latest.
For all information, please contact :
Place André Malraux – BP 39
18001 Bourges (France)

Tél. + 33 (0)2 48 20 41 87
Fax + 33 (0)2 48 20 45 51
email :
web :


Proposal Deadline is the 1st of March

Electroacoustic Music Studies Network (EMS) - International Conference Series

EMS05 - Electroacoustic Music Studies. A century of innovation involving sound and technology - Resources, Discourse, Analytical Tools Scientific Committee

Time and place: 19-22 October, 2005 – Montreal, Quebec, Canada

The EMS conference is organized every two years through the initiative of the Electroacoustic Music Studies Network, an international team which aims to encourage reflection on the better understanding of electroacoustic music and its genesis, appearance and development over the span of a century. The organizers are all engaged in the key areas of debate and actively seeking the development of solutions.
The first conference, in October 2003, was a result of the initiatives of De Montfort University (UK), the University of Paris-Sorbonne (France), and INA/GRM (France). It took place at the Georges-Pompidou Centre in Paris, within the auspices of IRCAM’s Résonances 2003 festival. Selected papers were published in issue 9/1 of Organised Sound.

From the advent of the first electric instruments, the phonograph, radio, telephone, and subsequent electronic and digital inventions, the approaches to technologies relevant to the art of sound have been limited only by the imagination of the musician. In recent years, there seems to have been a proliferation of studies relating to music incorporating these technologies However, the investigation of such a varied musical repertoire raises a number of issues that the EMS conferences wish to examine. The themes of the conference therefore emphasize questions of resources, discourse, and analytical tools relevant to electroacoustic musics.

1) Sources and resources

- What types of materials are being or should be documented?
- How does one create, expand, preserve and offer access to collections?
- What opportunities exist for exchange and collaboration?
- How can we help make the electroacoustic music repertoire more accessible?

2) Discourse / analysis of electroacoustic musics

- What types of discourse are relevant to electroacoustic works?
- Which forms of representation and which approaches to analysis are useful?
- Which analytical methods are currently being developed?
- How can one adapt existent analytical methods of music to elec?troacoustic works, many of which involve no prescriptive notation?
- How can we further develop the field of study of electroacoustic musics?

3) Analytical tools
- How are analytical tools being produced and disseminated in the community?
- What means are available for communicating the sonic form through symbolic and graphic representations?
- Does the study of electroacoustic musics require specifically-designed tools or can it take advantage of methods conceived for other musics?

4) Taxonomy, terminology, and aesthetic diversity
- What systems of classification are in use or should be developed?
- How can we become more consistent in our use of terminology in a field as dynamic as electroacoustic music?
- Are there aesthetic questions that are specific to electroacoustic music?

Format for presentations:

Spoken presentations

Proposals for spoken presentations should be submitted in the form of an extended abstract (minimum 2 pages) accompanied by a detailed C.V. and list of publications. The abstract should be ready for publication if the proposal is accepted. The duration of each paper will be 30 minutes (not including the question period). The papers may be given in English or French It is anticipated that simultaneous translation will be provided. Multimedia support will be provided in the form of video projector (for laptops), overhead projector, CD player, and sound system.

A programme containing the paper abstracts will be distributed.


Proposals for poster sessions are also invited; selected posters will be presented in the conference area at McGill University. The deadline for poster proposal submissions is the same as that for paper submissions.


19 October, 2005 – Opening of EMS-05 at the University of Montreal
20-22 October, 2005 – Conference sessions (McGill University) and concerts (Concordia University)

Guidelines for submissions

Deadline for receipt of proposals (abstracts and CVs of contributors): Tuesday March 1, 2021
Submissions are to be made electronically. Send abstract (in French or English, 2 pages maximum) + 1 detailed CV + a list of publications to the following e-mail address: . Please ensure that your name, institutional / organizational affiliation (if any), contact address, telephone, and preferred e-mail address are included on the abstract.

If your proposal is accepted, you will need to submit a brief 15-line biographical note to insert into the conference programme.

A selection of the papers will be published in Organised Sound (Cambridge University Press) in 2006.

Title: NOISE: Debates, Strategies and Methodologies

Within the current milieu of the European Commission's noise mapping directive and the Greater London Authority's Ambient Noise Strategy, we welcome contributions from those of you that have been or are currently engaged in soundscape and/or noise studies within the UK and Ireland. We are interested to hear about your objectives, methodologies and findings.

Moreover we are interested in the prevailing culture and health debate surrounding noise abatement, and the addition of noise issues to, for example, the estate agent's and tourist industry's agenda.

As the built environment often defines and/or modulates our sonic environment, how are issues of sound and noise design being addressed in architectural/urban planning practitioner's education?

Not only would we like to hear from environmental and urban studies but would also encourage contributions that have explored alternative approaches, such as community arts, direct action or culture jamming. Finally, we welcome contributions to the Members' Activities and Comments pages. Submission guidelines, proposals and correspondence should be e-mailed to


We invite listeners in the UK and Ireland to submit audio recordings of endangered sounds that are special to you, your community or your locality. For example, an endangered sound might be associated with a cultural event or a natural habitat that is declining or under threat.

The recordings should not exceed 5 minutes and should be submitted on an audio CD. Please ensure that you hold all rights to the material.

Please include your name, the location of the sound, the date and time of the recording and accompanying notes (250 words max.) describing the physical environment, why it is of value to you and what are the reasons for the sound becoming endangered.

Please send submissions to:
Earshot Submissions
c/o Dr John Levack Drever
Music Department, Goldsmiths College,
University of London, New Cross, SE14 6NW, London, ENGLAND

In and out of the sound studio: A conference at Concordia University, Montreal, July 25-29, 2005

You are invited to propose papers, presentations, performances and concert works for a conference at Concordia University July 25-29, 2005,focusing on gender and sound technologies. Artists, scholars and producers in such areas as:

_museum sound
_theatre sound
_film, video, digital media or video game sound design
_electroacoustic music
_community radio
_radio art
_public radio
_sound documentary
_performance art
_music recording
... and other areas of sound practice

are encouraged to submit proposals for scholarly presentations as well as less traditional forms of address. Presentations will be in French and/or English. Performances will take place at Concordias Oscar Peterson Hall, Studio XX, la Societie des Arts Technologiques, and CKUT Radio.

Conference participants will have the opportunity to attend academic panels as well as technical, aesthetic and professional sessions on working with sound technologies. During the
conference, we will be doing initial production on a sound documentary about gendered practices in sound work. Interviews and audio recordings will take place during the conference, and a production room will be set up for ongoing editing throughout the event.

Please send:
a 250-300 word abstract, technical requirements for your presentation, and a short CV by April 15, 2005, to:

In and Out of the Sound Studio Conference
Dr. Andra McCartney
Communication Studies
Concordia University
HB 404
7141 Sherbrooke St. W.
Montreal, QC
H4B 1R6

or by email to:

The Electroacoustic Chilean Community (CECh) has organised for the last four years the Electroacoustic Music Festival of Santiago de Chile, Ai-maako. The fifth edition of this festival will take place between the 17th and the 22nd of October 2005 in the concert hall of the Cultural Centre of Spain. Since the festival began four years ago, more than 200 works, from countries all over the world, have been performed.

The CECh invites the electroacoustic community to participate in this festival. Musical works must be sent before the 30th of April 2005 (the post office stamp will be valid as a reference) to the following address:

José Miguel Candela (CECh)
Correo Villa La Reina
Casilla 104
La Reina -Santiago de Chile

The works sent must fulfill the following conditions in order to be

a) Acousmatic or tape pieces.
Format: Audio CD, DAT or ADAT
Technical notes or diffusion score, in case of multi-channel pieces.
Pieces of a duration no longer than 10 minutes.
Biography of the composer and programme notes. Spanish translations are welcome (paper and Word document)

b) Mixed Pieces (depending on the organisers‚ possibilities of available soloists):
Works for soloist and electronics.
Pieces of a duration no longer than 10 minutes.
Format: Audio CD, DAT or ADAT.
Technical notes or diffusion score, in case of multi-channel pieces.
The instrumental score must be sent by regular or registered post.
Demonstration recording of the electronic part or of the piece as a whole.
Biography of the composer and programme notes. Spanish translations are welcome (paper and Word document) / FRENCH AND SPANISH IN:

Earphone Music invites you to submit a track for inclusion on our first compilation cd entitled: earphone 01.

Earphone Music's goal is to document new electronic sound works that are either software or hardware derived. The area of our interest is in the genres of: microsound, lowercase, or something that loosely fits in within those terms.

The scheduled date of release is April 2005, so please have works to us by, March 1st 2005.

We are also interested in artwork and/or a design for the cover.


1. please try to keep tracks under 5 minutes so we can have at least 14 artists on the cd.
2. you may submit more than one track, but only one will be on the "earphone 01" compilation.
3. you can submits tracks in any format you wish as long as the file specs are at least, 44.1kHz @ 16bits, you can submit audio files on cd,if you prefer.

What you get:

1. to be part of an ongoing series of documents of electronic music.
2. you will receive 10 copies of the CD that includes your track, a biography with links on our site, etc.
3. our unending appreciation for sharing your work.

Where to send:

620 park ave #319
rochester, ny 14607

If you have questions please e-mail:

The 7th Symposium on Systems Research in the Arts
"Music, Environmental Design, and the Choreography of Space"
to be held in conjunction with the 17th International Conference on Systems Research, Informatics, and Cybernetics

Proposals are invited for the 7th Symposium on Systems Research in the Arts, to be held in conjunction with the 17th International Conference on Systems Research, Informatics, and Cybernetics, August 1-7, 2005 in Baden-Baden, Germany. The study of systems within the scope of traditional arts-related theory, or the application of general systems methodologies to the analysis of music, architecture, interior design, dance, theatre, and the visual arts are areas of particular interest.

Proposals for presentations/papers of approximately 200 words should be submitted by April 15, 2021 for evaluation. Please visit the Symposium Web site at for more information.

For additional contact information and details, please visit the IIAS home page at

James Rhodes, PhD
Associate Professor of Computer Science
Jacksonville University
Jacksonville, Florida 32211
904-256-7494 (Office)

Four Fold Symmetry


Fourfold Symmetry presents us with a simple idea - four artists supplying source sounds to each other and then composing pieces. Little is explained about whether these source sounds are organic or computer derived or indeed how each artist set about working with them. For this reason it is difficult to judge what transformations have taken place and how original or well used any of the sounds are. One also gets the feeling that this is an opportunity missed and the feeling that comes across is that the artists just loaded up the source sounds into their computers and did what they usually did.

First up we have two tracks from KIM CASCONE. Using obvious processed noise and the dreary after effects of granulation, time stretching and spectral filtering Cascone creates a fairly ineffective couple of pieces. No attempt is made to engage with the spatial depth of sound and so apart from a few arbitrary auto-panning sounds, the pieces end up appearing quite flat. This may be intentional, but it sounds ill considered. Generally both compositions fail to evoke anything other than the sound of computers making sound. The pieces lack subtly, over use the cross fade as a transitional method and seem to be missing any propulsive elements. They also fail to recognise the importance of silence, space and gesture.

'Misplaced' by ANDREY KIRITCHENKO succeeds with simplicity and layering to create a slow crescendo. As before all the sounds are static, non dynamic and expressionless, but in this instance the blandness and flatness of the ingredients is useful in gradually heaping them on top of each other to create a charged engaging space.

The next eight tracks by KOTRA introduce a more obvious metre using fast gated repetition, loops and short percussive gestures. The sounds used are much purer in tone and have none of that overstuffed feel that makes it difficult to move from one sound to another. With this limited palette KOTRA goes a lot further in exploring the sources and composing with them. The only problem seems to be in the sonics - the harsh clipped tones of the foreground need to be calmer in both volume and equalisation. They appear sped up or have had their sampling rates reduced to create an effective harshness of texture, but they at times overwhelm the background drone sounds.

ANDREAS BERTHLING's only track 'First Out' [though he contributes source sounds to two other tracks] is quite similar to KOTRA's piece. Short harsh sounds are looped into a one bar repetition at around 120BPM. Over this percussive sounds skate and skid around in stereo using modulated bouncing ball algorithms to simulate acceleration and deceleration in both space and sound. An interesting idea, but to repeat this loop all the way through [around 130 times] is unacceptable and just plain lazy.

ANDREY KIRITCHENKO's two tracks finish the album with clear tones and low chord like drones, creating a soft atmosphere. Unfortunately the electronic birdlike sounds, though well realised, create an atmosphere that is more suited to a flotation tank ambience than interesting composition. And once this soft atmosphere fades away all that is left is the sound of effects, not the sound of composition. The problem lies in no keeping hold of the beauty, a feat that is achieved in the last track 'three figures' where a simple idea is held.

Overall a well packaged and thoughtful compilation demonstrating the various methods of sound manipulation. Unfortunately the fact that much of the sound here has no dynamic expression means that compositions become demonstrations of valueless computer pyrotechnics, rather than considered explorations in sound. A lot of the work in the album has failed to realise that sound creation is nothing without composition. And composition is a skill which there has yet to be a plug-in invented for. Unless composers work on their methods of transitions and expression, listeners will be forever trapped in listening to one fairly interesting sound cross fade into another fairly interesting sound. With the limitless possibilities of computers, this is simply not good enough.

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