News from the Sonic Arts Network
Cut and Splice

At last we are able to announce the programme for the most ambitious Cut and Splice Festival to date!

This year’s Cut and Splice presents DOTS AND LINES, a cluster of events that explore the idea of notation and the relationship between score, image, text and sound in electronic music and sound art.

Focusing on the gap between ideas and experience, between abstract concepts and their relation to the tangible, DOTS AND LINES considers the analytical, performative and documentary nature of music as written document and code. It throws into relief our very concept of what constitutes the musical experience and considers the complex dialogue between time based and static art forms.

The series includes gallery and online exhibitions, a concert series, and weekly radio programmes for Radio 3’s Hear and Now.

Private View
13 May (7.30pm, Jerwood Space, SE1, London)
A rare chance to experience Kurt Schwitters’ ‘Ursonate’ close up personal as performed by its leading exponent, Jaap Blonk.  As Sonic Arts Members you have the exclusive chance to get free tickets to the event by phoning the BBC free ticket line: 020 8567 1227

Jaap Blonk

Gallery Show
14 May - 3 June (7.30pm, Jerwood Space, SE1, London)
Free Entry
A collection of ideas and artefacts that explore the relationship between the musical score, image, text and sound in electronic music and sound art.  The Gallery will also be the venue for several Artist interviews presented by The Wire on 21 and 28 May.

Concert 1
22 May (7:30 LSO ST. Luke’s, EC1, London)
Robert Ashley’s ‘The Wolfman’ casts a sinister lounge performer as feedback messiah; Peter Ablinger’s ‘IEAVO’ uses the acoustic of the hall as its generative material and Mauricio Kagel’s epic ‘Acustica’ takes instrument construction out of the garret and into the DIY store.

Concert 2
29 May (7:30 LSO ST. Luke’s, EC1, London)
Legendary sound conceptualist Yasunao Tone moves sound in space with the live painting of Chinese calligraphy and the internationally acclaimed artists of Germany’s Raster-Noton records explore sublime geometric forms in both sound and vision.

Yasunao Tone

Closing Event
3 June (7.30 Jerwood Space, SE1, London)
Quartet Electronische and Langham Research Centre perform, John Cage's Williams Mix. Free tickets are available from the BBC by calling 020 8567 1227.

Website features -

  • An international selection of web-based works curated by Honor Hager around the ‘Dots and Lines’ theme.
  • Extensive notes on all of the artists and work featured in the series.
  • Stereo and 5.1 streamed audio from the year’s Cut and Splice concerts.
  • Interviews with selected artists and performers available as downloadable MP3s.
  • Specially commissioned texts relating to the work featured in this year’s Cut and Splice.
  • An international collection of Internet based sound toys and games.

The site will be hosted by

The event will be broadcast on BBC Radio 3’s Hear and Now programme on 21 May, 28 May and 11 June on 90-93 FM.

Cut & Splice is an annual festival of performance and exhibition that explores key themes and ideas in the history of art, technology and music. It is co-curated by the BBC and Sonic Arts Network and it takes place in May each year. Each year the festival showcases the work of the leading artists in the field of radical electronic music and digital sound art.

Carsten Nicolai (aka Alva Noto)

Full details on all events will be available on the SAN website soon.



9 March
(live performance)
291 Gallery, London

Eclectic, free & monthly.  Instrumental two-piece, SonVer, who play cello, guitars and effects to create all-enveloping cinematic soundscapes.  Also featuring, Laptop artist, The one thousand things and Martyn Singleton aka key brings the debut performance of his band The Auditions.

10 March
Mantis presents: Cello & Electroacoustic Music
Cosmo Rodewald Concert Hall, Manchester

Neil Heyde on Cello playing a programme including Interferencias by Daniel Barreiro,
Per Serafino Calbarsi II - Le songe de Panurge and Ricochet by David Berezan.

14 March
Group Networked Music Perfromance
St Pancras Church. London

This performance comes at the end of 8 classes held at the Mary Ward centre which explore ways of working together to make live electroacoustic music.

Monday 14 March
Ether: Rother-Moebius and Githead
Royal Festival Hall, London

Michael Rother (neu) and Dieter Moebius (cluster) are joined on the same bill as Githead, a new project, comprising the talents of Robin Rimbaud, better known as Scanner, Colin Newman of Wire and Malka Spigel.
Completing the line up is They Came From the Stars I Saw Them.

16 February - 13 Mar
ICA, London

Hans Fjellestad Directs Moog, himself, tracing the history of his invention and other forms of electronic instrumentation, bringing together technical details with his own personal philosophies while tending to his organic vegetable garden. The film travels the world to meet those influenced by Moog's work, with interviews and live performances from Rick Wakeman, Keith Emerson, Bernie Worrell, Gershon Kingsley, Luke Vibert, Money Mark, Stereolab and DJ Spooky

17 March
Experimental Music Showcase 3
(live performace)
Aberdeen Uni, SU, Hilton Campus

Featuring an 8 speaker audio/visual installation and electro-acoustic set by james wyness and live electronics by local artists andy le kipp, patrick keenan, and steve morrison. free. email for details

18 March
The Leafcutter John Orchestra
(Live Performance)
Serpentine Gallery, London

Using objects in the Tomoko Takahashi exhibition as sound sources, a group of musicians including Sebastian Rochford of Polar Bear, Melissa Agate aka sanso-xtro, and Sebastian Lowsley-Williams will create a spontaneous piece of music. Leafcutter John, who will process the work live in the Gallery.
TicketWeb 08700 600100

19 March
Ether: Matmos plus guests
RFH, London

Matmos: Long time Bjork collaborators and general left field experimentalist duo Matmos, aka MC Schmidt and Drew Daniel, will appear for a very special performance as part of Ether 2005. Having released their first album back in 1997 on their own Vague Terrain label, they have gone on to produce 5 studio albums utilising diverse sound sources including amplified crayfish, rat cages, life support systems and a 5 gallon bucket of oatmeal.

Until 20 March
Shapechanger – Robert Worby
(sound installation)
The Babylon Gallery, Ely

In a space that resembles a deranged audiophile’s sitting room, 30 vintage
hi-fi speakers utter Viking poetry from ‘Egil’s Saga’, a 1000 year old tale of a warrior poet. The texts are heard in Old Norse, Icelandic and modern English and they’re set in environmental recordings made in Norway, Iceland and the East of England, places with which Egil was familiar. As the public occupy the space, the soundworld transforms and moves from the familiar into the invented and the imaginary. From behind this façade of odd, slightly shabby, domesticity comes an electroacoustic reading of one of the most well known Icelandic sagas.
tel: 01353 616993

22 March
Graffiti Composition & Tabula Rasa
Barrbican, London

Christian Marclay took 5,000 blank music sheets, fly posted them across the city of Berlin and asked the public to respond.  He created Graffiti Composition. Performed in London for the first time, arranged by Steve Beresford.  Tabula Rasa brings together DJ Flo Kaufmann and artist Christian Marclay in a live performance where sound is recorded before your eyes. Flo Kaufmann, equipped with a lathe cutting machine, will engrave in real time the sounds created by Christian Marclay. The set starts with no records and evolves into dense layers of recorded sounds generated by Marclay's turntables and instant recycling of his own live mix. A surprising self generating cycle by one of the pioneers of 'turntablism'.



Department of Music, School of Arts
City University, London

Senior Lecturer/Lecturer in Music
£30,000 - £45,000

The Department of Music seeks to appoint an electroacoustic music composer or composer-performer. You should have an excellent research record, or be able to show the potential to achieve research excellence.

You will be expected to teach composition in a variety of electroacoustic music genres at all degree levels. The ability to contribute to teaching in an area other than electroacoustic music would be an advantage.

Ref SH/2134
Benefits include a final salary pension scheme.
Closing date: 1 April 2005.

For more information and an application form, visit  or write to Recruitment Team, HR Department, City University, Northampton Square, London EC1V OHB, quoting the job reference number.


A two day practical hands-on introduction course to Max/MSP and Jitter, an interactive software for sound & image.  Ideal for sound, video installation, live performance & VJ-ing.

Led by composer, performer, software architect and sound designer Nick Rothwell.

For course information please contact:

020 7025 1985


The Lancaster Institute for the Contemporary Arts represents an ambitious and exciting new initiative by the University, which is consolidating and expanding its creative arts provision within the context of its continuing overall commitment to promoting the highest quality research and teaching excellence.

Based on an amalgamation of the Departments of Art, Music and Theatre Studies, the new Institute will come into being on 1 August 2020 and will foster interdisciplinary approaches, focusing on and facilitating a laboratory-based exploration of arts practice and engaging with academic, professional and creative-industries practitioners.

Candidates for this post should have proven creative and/or academic research and teaching skills in Music Technology and Sound Art, and in addition an interest in interdisciplinary approaches in the Arts.

The Chair appointment will be at Professorial level (minimum salary £43,513 p.a.) The Lecturer A/B appointment will be made at an appropriate point on a scale between £23,643 and £35,883 p.a. The Senior Lecturer/Reader appointment will be made at an appropriate point on a scale between £37,558 and £42,573.

This appointment will take effect from 1 September 2020 or as soon as possible thereafter.


The Centre de Creation Musicale Iannis Xenakis (CCMIX) announces its 11th annual summer session. The course will take place Monday, July 4th through Friday, July 29th, in Versailles (Paris), France.

Faculty will include: Joel Chadabe; Trevor Wishart; Agostino de Scipio; Eduardo Reck Miranda and Gerard Pape. Individual studio work is at the heart of this program. New in 2005, the CCMIX announces an expansion into the visual arts. As part of the Summer Intensive, we will also offer a series of seminars and studio sessions on 'sound and image' led by Randall Neal and Ana Paula Portilla.

Consider a creative experience in Paris this summer. More information is available by email from Randall Neal, Head of Pedagogy.

Sonic Arts Research
Ref: 05/W290A

5 year personal Research Fellowships leading to permanent Academic positions

The University has been awarded a number of Academic Fellowships by RCUK that will permit the progress of exceptional researchers to permanent academic positions, and will involve working with world-class scholars on projects at the forefront of core disciplinary and interdisciplinary research, supporting the University’s strategic aim to pursue international excellence in research. All applicants should have sufficient postdoctoral experience to demonstrate their outstanding research potential, including a track record of achievement employed on high quality research projects. These posts will offer the opportunity to build on this and develop skills as an independent researcher, progressing towards a career as a permanent member of academic staff. During the first 5 years successful applicants will concentrate on developing their research profile, although it will be expected that over the 5 year period, they will increasingly engage in teaching, project management and outreach activities. Although staff holding or promised permanent positions are not eligible to apply, applications are invited from researchers who are currently in receipt of research fellowships or grant funding.

The successful applicant will be familiar with the use of new technologies in artistic practice. Applicants are expected to demonstrate expertise and innovative thinking in the design, prototyping and development of public exhibitions or musical performances using new technologies in an artistic context. Areas of expertise must be music-related and can include – robotic art, hacktivism, live-video and Vjing, new media, virtual environments, haptics, interactive spaces, software art, sound installation, immersive technologies, digital architecture, artworks using artificial intelligence or artificial life software.
The New Media Academic Fellow will be based at the Sonic Arts Research Centre (SARC) and will develop creatively-led projects in visual/video technologies which compliment the audio-based work already underway at SARC.

For further details, please contact: Mr Chris Corrigan, Sonic Arts Research Centre, Tel: (02890) 974830


Candidates for all positions are required to have a PhD and strongly developing publication track records. Fellows are expected to be in place by 30 September 2005.
The salary is likely to be within the range £23,643-£35,883 per annum depending on skills and experience.

Closing date: 4.00pm, Friday 11 March 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 90973044, Fax. 028 90971040, e-mail,

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


Continuing to promote contemporary composers and their works, Vox Novus is inviting composers to submit works 60 seconds or less in length to be included in its third annual 60x60 project. 60 compositions will be selected to be performed continuously in a one-hour concert, in conjunction with multimedia elements and an analogue 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 is 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 other of 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 at the same time with the submitted work. The submission form 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 must 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 16, 2005. Selected works will be announced on September 15, 2005. 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

Submission forms can be downloaded at


This platform is an opportunity for an artist, musician, producer, DJ or group of artists, musicians, producers, DJs etc living or working in the West Midlands to create a new sound/music work to be encountered by visitors at The Public.
The commissioned work will be imported into 3D sound technology, which has been developed by Martyn Ware (Human League, Heaven 17) at Illustrious. Martyn will work with the successful individual or group to ensure the successful transfer of their work into this 3D technology.
On Friday 18th March we are hosting a Sound Corridor briefing day, the purpose of which is to provide potential applicants with a fuller understanding of The Public, the gallery and the 3D sound technology. Martyn will present on how their technology works and how they envisage collaborating with the successful proposal. Tom Cullen, Gallery Technical Manager and Andrew Chetty, Curator will present on the Interactive Backbone, the Sound Corridor technical infrastructure and RFID. If you would like to attend this day please contact me via email, no later than Wednesday 16th March.
The deadline for all submissions is Thursday 14th April 2005, with interviews scheduled to take place on Monday 25th April.
Whether or not you are able to attend the briefing day are happy to receive your proposal. The deadline for this is Thursday 14th April 2004.
Caitlin Griffiths
Sound Corridor - Project Co-ordinator


3rd International Symposium on Computer Music Modelling and Retrieval

CMMR 2005 - PLAY!

Pisa, Italy, September 26-28, 2005

The field of computer music is interdisciplinary by nature and closely related to a number of computer science and engineering areas such as information retrieval, programming, human computer interaction, digital libraries, hypermedia, artificial intelligence, acoustics, signal processing, etc...

In this year's CMMR we would like to emphasize the human interaction in music, simply the PLAY, meaning that papers related to sound modelling, real-time interaction, interactive music, perception and cognition are particularly welcome together with the usual themes related to the traditional topics of the CMMR conference.

CMMR 2005 invites researchers, educators, composers, performers, and others with an interest in important aspects of computer music (including modelling, retrieval, analysis, and synthesis) to come join us for a unique event.

Original contributions on the following (and other relevant) topics are encouraged:

                  infrastructures for music
                      - music digital libraries modelling
                      - representation and language modelling
                      - distributed system infrastructures
                indexing and retrieval of music
                      - metadata
                      - standards
                      - protocols
                      - query languages
                      - advanced information retrieval
                  structuring of music data
                      - hypermedia
                      - structural computing
                  collaboration on music
                      - computer supported cooperative work
                analysis, recognition, comparison, classification, and modelling of music
                      - pattern recognition
                      - signal processing
                      - algoritmics
                      - parsing
                mining and visualizing music
                      - data mining
                      - visualization
                  synthesis and/or composition of music
                      - synthesis models
                      - automated composition
                      - audio coding
                      - spatialization
                user interfaces for music
                      - human computer interaction
                      - virtual reality interaction
                auditory perception and cognition
                      - psychoacoustics
                      - music perception

The symposium will be structured in a traditional manner with paper presentations. However, there will also be scheduled time for presentation of computer musical compositions.

Submissions may have any of the following forms:

*                Full paper (7 - 20 pages)
*                Short paper (3 - 5 pages)

All papers will be reviewed by the program committee. It is planned to publish accepted papers after the symposium as post-event proceedings in the Springer Verlag Lecture Notes in Computer Science (LNCS) Series.


Full papers due - May 1st, 2005
Short papers due - May 1st, 2005
Acceptance notification - June 15th, 2005
Symposium - September 26-28, 2005



Art trail Soundworks 2005 Art trail seeks proposals from artists working with sound to participate in a series of sound-based events to be held in Cork City, June 2005 Programming of all events will be through open submission and invitation, involving Irish and international artists.

Formats include installations, performances, CD listening posts etc. Further programming will include: Sound works projects and installations situated around Cork City, One day seminar, Special publication of essays on sound, Campus Radio experimental daily programme  featuring works especially made for broadcast on this band, City wide installation, inviting public participation, Events designed to encourage collaboration amongst artists, native and visiting including Art Trail invited artists in residence

Deadline: 5pm 29th APRIL 2005

Contact: Art Trail, Wandesford Quay Studios, Crosses Green, Cork.IRELAND



T:  0214961449


91 pieces needed for the audio code.

Submit your 1minute piece and become a brother!
more info coming...but we have to keep low.

Dr.Lipton needs you!

send to

art dep
st.paul's sq
ws1 1xn


When searching for the determinant factors of digital audio production, its forms and compositional strategies, mere technological criteria become less important in the light of the pervasion of information technology into audio media. "Computer als Klangmedien" Computers as Sound Media), the topic of the 1993 Hyperkult III, have become omnipresent. Even the traditional domain of digital music, the "Computer Music" with its core elements, algorithmic composition and sound synthesis, can be found in a broad practice of digital production within mainstream pop music. Compositional as well as sound-aesthetical traditions of "Elektronische Musik" and "musique concrète" become base elements of a popular or less popular avantgarde that is positioned beyond historic dogmas.

At the same time, artistic as well as scientific discourses discover electronic sound as a central area of present-time culture. Apparently, the abstract soundworlds of electronica do not only represent the digital lifestyle but also come to be the projection space of techno-cultural change. Phenomena of hybridism, as they were described in the 90s caused by the disbandment of familiar boundaries between technology, nature and culture, between plugged and unplugged and also between Art and Pop Music, now gain new actuality with the reintegration of analogue sound synthesis, tube amplifiers, and manually operated instruments into the digital environment. On one hand, hybrid technology corresponds with a hybrid culture of merging established oppositions, however does it also often aim at creating photorealistic simulations of its predecessors.

Against this background, how are methods, contents, traditions and creative strategies changed? Which relations exist between digital audio media and auditive forms and processes? Do distribution and collaborative production in digital networks call for a new definition of the musically interested public? Which technological innovations will give direction to future practices? HyperKult 14 wants to debate these and other questions in an interdisciplinary dialogue and take the chance to reach an up-to-date positioning of digital audio media. Contributions from diverse scientific and artistic plateaus in the field of audio compression methods, sound synthesis, sampling, software-tools, Creative Commons, avantgarde-pop, sound art, sound culture, informatics, cultural and media sciences are welcome.

The HyperKult will have an extended exhibition area with the topic communications . The goal is to advance the practice-related exchange between projects, organisations, labels, and musicians (etc.). Interested parties are hereby called upon to participate with presentations. A registration is obligatory due to limited space.


Please send 1-2 page abstracts of your contribution to the workshop HyperKult 14 (scientific lectures, technical or artistic demontrations) as well as registrations for communications -presentations (no fees) until March 31 2005 to:

Universität Lüneburg
21332 Lüneburg



The National University of Lanús - UNLa (Argentina) presents the 6 th Edition of the International Acousmatic and Multimedia Festival “Sonoimágenes” that will take place in August 23th-26th  2005.

As every year, “Sonoimágenes” intends to be a showcase of outstanding works in the acousmatic, mixed-interactive live electronics and audiovisual composition fields. As usual the “Sonoimágenes” audio-visual concerts will take place both at the UNLa Campus and at important concert halls in Buenos Aires City.

“Sonoimágenes” Calls for Works to be considered for the 2005 edition that should fit into one of the following Categories:

a. Acousmatic works: sonic art compositions for recorded media alone, from two to eight channels (on audio CD, Tascam DA-88 or Alesis ADAT formats)

b. Audiovisual compositions: audiovisual works on media whose sound and image narratives have equal value or importance (MPEG, AVI, MOV, VCD formats, on CD; DVD-R, DVD+R, miniDV (PAL), Betacam SP PAL or superVHS PAL).

c. Live Performances involving technology: such as mixed works for acoustic instruments or electroacoustic devices and recorded media, interactive mixed works, real time processing or live electronics, live electroacoustic improvisation, or any of those plus video.

For Category c. the composer must provide all the necessary devices, instruments as well as the performer or performers as stated in the “Information to be included” Section.


All works must have between four [4] minutes (minimum) and twelve [12] minutes (maximum) and must have been created after January 2000. 

Composers and realizers may submit up to a maximum of two works and in such case in different Categories which will be considered for performance/exhibition consideration on the “Sonoimágenes 2005” Festival.

Selected works will be featured in four Audiovisual Concerts during the Festival.

Available technology for the Audiovisual Concerts:  

For the Audiovisual Concerts, the Festival will provide the following technology:
Eight loudspeaker system with an eight sends console.
Audio-CD, 44.1 KHz and 48 KHz 16bit DAT, Tascam DA-88, Alesis ADAT;
DVD, sVHS (PAL), miniDV (PAL), Betacam SP (PAL)

Deadline for submissions: 

All works must be sent by mail, post marked before May 1st 2005.
All submisions must be sent to:

                                    Festival “SONOIMAGENES”
                                    Universidad Nacional de Lanús
                                    Licenciatura en Audiovisión
                                    29 de Septiembre 3901  (B1826GLC)
                                    Remedios de Escalada – Prov. de Buenos Aires

Elements to be included:

a. Submission form (one form for each work submitted)

A  complete submission form can be downloaded from
Please fill the form, print it and include it together with the submitted work(s).
In case you submit two work in different Categories, please fill in one form for each work.
The Form includes a short biography and programme notes (up to 200 words maximum each), a detail of the technology involved as well as all necessary contact information (postal address, email address, phone or fax number).

The Artistic Direction of “Sonoimágenes” has the intention to make public the whole 2005 Festival programme on the Sonoimágenes Web Site, thus all biographies and programme notes in excess of the maximum words will be truncated, and all incomplete submissions will not be considered.

All Submission Forms must be also sent by email 

b. The work(s)

For submissions corresponding to Category a. the author must send one of the following media
Audio-CD, 44.1 KHz and 48 KHz 16bit DAT, Tascam DA-88, Alesis ADAT

For submissions corresponding to Category b. the author must send one of the following media:
video-DVD, sVHS (PAL), miniDV (PAL), BetacamSP (PAL)

For works corresponding to Category c. the author must send one of the following media:
. For the case of mixed electroacoustic works with instrument(s): Full score, a recorded version of the work, and a recording of the electroacoustic solo part on CD (if applicable).
. For the case of any other live performances involving technology the composer must provide all the necessary indications and technological devices needed for performance.
. For the case the live performance includes video, the recorded version of the work should be sent in video-DVD or VHS and also the author must provide all the necessary indications and technological devices needed for performance.


Submissions will be considered as from the last week of May 2005 and the final programme will be uploaded to the Sonoimágenes Web Site on the first week of July 2005.
All received submissions that could not be included in the Sonoimágenes 2005 Festival will be kept and will be considered for future editions of Sonoimágenes.

Inquires may be sent by email to: 
More information about the “Sonoimágenes” Festivals can be found at :

Jozef van Wissem

BVHaast 0104

Adorning the back cover of the inlay in all black, leather gloves, with long blonde hair and a pose that exudes attitude, van Wissem nonchalantly stands clutching his lute. Add to this the artwork by Kathe Burkhart - a brutal looking renaissance inquisition chair and a collage of scold’s bridles, and one could be forgiven for expecting a collection of hard-edged tracks that explore the sonic limits of an electronically modified lute. What we actually get is a little over thirty minutes of minimal music of the utmost subtlety and delicacy.

Van Wissem’s eight pieces all originate from his improvisations on various renaissance solo lute forms. From these, he has extracted short melodic fragments and with them created a web of minimal palindromic forms. Each of the pieces on the CD takes three or four of these fragments and repeats them over and over. The resulting music, a strange cocktail of renaissance harmony, contemporary Dutch minimalism and subtle IRCAM-esque electronics has an archaic yet mesmerising quality to it.

The similarity in tempo, dynamic and gesture of van Wissem’s musical fragments binds each of the tracks together, so much so, that we end up hearing them as movements of one large piece. This is particularly the case with the opening two tracks, Precession and Reconnaissance which are characterised by the incessant alternating of a bass pedal tone with a harmonically-changing spread chord, and Regression, the last track, being a short one minute reprise of the first. Yet, in between, we have tracks with diverse titles as Marja’ I Taqled based on a bransle by Jean-Baptiste Besard, John F. Kennedy, which includes field recordings from New York and U.S. Drone Strikes Again. The potent imagery conjured by the last two titles in particular is not really reflected in the music. The titles become distracting - ignore them and just listen.

When you do, you will really appreciate how skilled a player van Wissem is. There is clarity and depth of tone to his playing, an innate sense of musical timing coupled with excellent production by van Wissem himself, and Kenneth Babb. The electronics van Wissem employs are extremely subtle and blend beautifully with the timbre of the lute. A small Lavallier microphone inserted into the body of the lute is used to sample the wolftones produced by the instrument. These samples have then been edited and filtered before being mixed with the acoustic sounds. Often the electronics sound like mutated echoes of another lute lurking in the shadows, though occasionally, as in U.S. Drone Strikes Again, the electronics play more of a prominent role, extending the range of the instrument downwards.

The music of Simulacrum is rewarding, but one cannot help feeling that there is much more sonically that could have been done with the combination of lute and electronics. Perhaps this would have opened up the possibilities for more diverse tracks in terms of both dynamics and tempi and perhaps even suggested a further layer of palindromic structuring…

Reviewed by Mathew Adkins
Mathew Adkins is a composer and lecturer in electronic music and sonic arts based at the University of Huddersfield.


Toshimaru Nakamura, eRikm, Günter Müller


As with all noise band releases, this CD from the For4Ears label presents soundscapes that have been arranged without the familiar structures of rhythm or melody. Instead, a largely intuitive style of sound-organisation has developed among the improvisers whose long practice at this kind of work has made them adept at it.

eRikm, (3k. pad system and computer) Toshimaru Nakamura, (no-input mixing board) and Günter Müller (minidisc, ipod, electronics, percussion) persuade electronic noises out of their assembled equipment with great sensitivity. The means for electronically processing music (ipod, mixing board, minidisc, computer, etc.) become the means to produce music itself. It is as though eRikm, Nakamura and Müller are holding an auditory microscope over the noises made by music production and bringing what sounds exist there, into earshot. It's like listening to circuitry; an insular world of electronic, binary communications. Perhaps it is this very specifically electronic sound aesthetic which has led each track to be titled with a version of the word cable.Keburu is Japanese for cable, Kabel is German-Swiss for cable, and Cable is the French word for it. Through nationality, each of the artists is referenced; but obliquely, and in relation to this interconnecting medium. The cable communicates data, carries signal, moves sound from A to B, and ultimately translates human intention into electronic, auditory wavelength. To emphasise the point, a picture of a cable features in the inlay cover for Why Not Béchamel? as though to draw attention to the prominence of wires in its production. When listening to Why Not Béchamel? the sounds give you the idea of being one single expanding or compressing sound-texture. Certainly I cannot discern at any moment whether it is the ipod, the no-input mixing desk or the 3k. pad system that I am hearing - the elements are fused indivisibly, like tightly wound filaments within a cable. 

Sensitive phrases emerge out of this enmeshed, electronic soup, only to dissolve back among the bubbles; an image enhanced by the release's cryptic title, Why Not Béchamel? Anyone who's made this sauce knows that the deceptively simple recipe which blends flour, butter and milk to make a sauce, is a process which requires constant attention and stirring if the end result is to be successful. Inattentive Béchamel-making leads to a lumpy sauce, or burnt milk. Adding the ingredients in the right order and constantly stirring them over a low heat makes the most successful Béchamel. This recording has the sense of being created like this; the sounds are added carefully to the mix, and are patiently stirred. The mix is always moving, and the gradually building intensity of the sounds (especially in the second track, Kabel) could be described as a slow burn; from one second to the next, you can't feel the temperature shift, but then you realise that the sounds have become a lot deeper, a lot more complicated. Kabel is 24: 52 long, and sifts towards this final peak through a tight mesh of blips, crackles, and low-frequency pulses.

An organic aspect of electricity runs through the whole recording, yet the work feels emptied of human presence. This is perhaps because the sounds were never arranged with the idea of conveying emotion. Toshimaru Nakamura stated in an interview that he aims to make sound that is "anonymous, a nameless sound," and talked about his desire to create music without emotion in it. Likewise, eRikm is interested in making "a bank of singular material [in order to compose] without referring to other works." Work without reference and without emotion is bound to sound somewhat insular, and perhaps these artistic aspirations account somewhat for the occasional sense Why Not Béchamel? has, of having been made in a vacuum, outside normal reality. Luckily, some slurs on the electronic purity of this work are achieved; there are subtle interjections of highly processed samples, and very sparsely occurring pitched notes. These save the mix from burning, from going lumpy, or of simply being bland.

Reviewed by Felicity Ford
Felicity Ford is a sound-artist and writer. Her most beloved possession is her shiny, red accordion, but her advancement on this instrument is hampered by a frequent desire to play with the Internet instead of practicing arpeggios.