News from the Sonic Arts Network

Vicki Bennett:
Story Without End
Saturday 13 - Monday 29 August 2020
The Herbert, Jordan Well, Coventry

Story Without End is a new Sonic Arts Network commissioned short film by Vicki Bennett (aka People Like Us) using material from the Prelinger archive.

Private View
Friday 12 August 2005, 3-5pm

Vicki Bennett Artist Masterclass
Saturday 13 August 10am – 12pm

Vicki Bennett will give a rare insight, through demonstration and discussion, into her working methods and approach to working with archive sound and moving image material.

To attend the private view and masterclass you will need to reserve your place by contacting the Herbert on 024 7683 2386. Places are restricted due to space. Everything is Free.

Installation, PV and Masterclass are all being held at:
The Herbert
Jordan Well


The Connectors
12-18 September 2005

Sonic Arts Network in partnership with The Watershed Media Centre, Bristol present The Connectors, an international festival at the cutting edge of sound and image processing featuring exclusive performances, specially curated films screenings, artist led masterclasses and software courses.

The Connectors concert
A rare opportunity to witness a line up of today’s leading international audio-visual pioneers in performance at The Cube Microplex, Bristol:

Kurt Ralske
Brian O’Reilly and Andreas Schlegel
Jo Hyde
Yasser Rashid

Tickets cost £6/£4 and can be booked using the Credit Card Bookings/Bristol Ticket Shop 0870 4444 400 or visiting Other outlets include Replay Records - Park Street, Bristol Here Shop - Stokes Croft, Bristol. Visit for more details.


Film Screenings
Exclusive film screenings from AV artists Jo Hyde, Brian O'Reilly and Kurt Ralske featuring seminal classics and essential contemporary work in sound and moving image which is not to be missed.

Sunday 18 September – Cinema 3, The Watershed Media Centre, 1 Canon’s Road, Harbourside, Bristol

Tickets cost £3.50 each. Visit for more details.

Software Courses
Artist led software courses giving hands on instruction in the tools of contemporary AV invention held at The Watershed Media Centre.

Jo Hyde – Introducing Jitter
2 day course
Monday 12 and Wednesday 14 September

Yasser Rashid – Introducing Processing
2 day course
Tuesday 13 and Thursday 15 September

Brian O’Reilly – Strategies for Constructing Moving Images
2 evening course (6pm – 9pm)
Tuesday 13 and Thursday 15 September

Tickets cost £60/£40 each, advanced booking necessary for courses, places are limited

For more details on these courses and student requirements please see

Artist Masterclasses
Cinema 3, The Watershed Media Centre

A series of public presentations in which international audio-visual artists talk about their work and the techniques involved in its production.

Brian O’Reilly  – Friday 16 September 11am – 1pm
Andreas Schlegel – Saturday 17 September 11am – 1pm
Kurt Ralske  – Saturday 17 September 2pm-4pm

Tickets cost £6/£4 each. Booking info for all Watershed events:

The Watershed Box Office

tel: 0117 927 5100
open Mon to Fri from 0900hrs / Sat & Sun from 1000hrs.


3 September – 27 November
Justin Bennett : Noise Map
GEM, Museum of Contemporary Art, The Hague, Netherlands

Justin Bennett, who featured at the SAN Expo in Scarborough, charts the sounds of everyday life in his first one-man museum exhibition. Bennett will show a selection of work produced over the last fifteen years, including a number of sound sculptures never previously presented to the public. The piece Soundhouse (pictured) consists of a structure built of PVC tubing ending in funnels. If you put the funnels to your ear, you hear fragments of various conversations between a man and a woman.

26 July 2020 - 5 March 2021
Hearwear – The Future of Hearing
V&A, London

The results of an innovative project to radically rethink the future of hearing, Hearwear displays designs and prototypes by some of the UK's best designers. Hearwear suggests revolutionary new possibilities in hearing products for everyone, not just people who are deaf or hard of hearing, and introduces the possibility of new products to allow everyone to control and enhance the sounds around us.

11 August
Pulse @ the Whitechapel Art Gallery
(live performance)
Whitechapel Art Gallery, London

Thunderbolt (Zoe Riddell and Catrin Jones) will create an improvised soundtrack using found sounds from nature, analogue and digital synthesisers, flute oboe and tibetan bells.
Plus ZeroPing.

12-31 August
THUNDER : by Hannah Rickards
Media Art Bath, Argyle Street, Bath

The installation comprises a thunderclap produced via a six-piece orchestra. The musical score, written by composer David Murphy, is based on a digitally-slowed recording of the original thunderclap. This score was conducted by Jason Lai (BBC Philharmonic) to produce an eight-minute score that has been re-speeded to
mimic the original source noise. Visitors to the installation in the impressive church setting will encounter a dramatic audio experience. A live performance of the musical transcription is scheduled for the opening night.

14 September
(live performances)
Charterhouse Bar, London

After their summer break, Sprawl, the perennial experimental audio club, is back at the Charterhouse Bar. Presenting another selection of oddbeats, soundscapes & eclectic sounds with live appearances by MUSIC FOR ONE (Canada), FLUTTUAZIONI (Italy/Placard), LAWRENCE ENGLISH (Australia/ Room40) and ACHRID (Japan/UK).



Artist led software courses giving hands on instruction in the tools of contemporary AV invention held at The Watershed Media Centre.

Jo Hyde – Introducing Jitter
2 day course
Monday 12 and Wednesday 14 September

Yasser Rashid – Introducing Processing
2 day course
Tuesday 13 and Thursday 15 September

Brian O’Reilly – Strategies for Constructing Moving Images
2 evening course (6pm – 9pm)
Tuesday 13 and Thursday 15 September

Tickets cost £60/£40 each, advanced booking necessary for courses, places are limited

For more details on these courses and student requirements please see



Common Ground - The Movie is being shot throughout North Kent with four different community groups and we are currently seeking additional volunteers with some experience (ideally) to assist with the technical aspects of the production.

Sound Recordist - to monitor all the sound going onto minidisk

Shooting Schedule:
1. Isle of Sheppey - 11th - 14th August 2005
2. Dartford Town Centre - 24th - 27th August 2005
3. Medway - 11th & 18th September 2005

In return:
1. Credits on the film
2. Copy of the completed DVD
3. Refreshments during shoot
4. Tons of gratitude!

If you are interested and are available for at least all dates in one area, then do email or phone to talk to Tina Carter, Director of the project.

Tina Carter
01227 280399


The Sonic Communications Research Group (SCRG) within the School of Creative Communication at the University of Canberra offers a unique environment for postgraduate and post-doctoral research, and welcomes visiting overseas students.
SCRG members are interested in questions such as the following:
- How do we communicate with sound?
- How does sound represent information, and help us perceive and interpret complex data?
- How does sound induce affect? - How do creative sound practices operate in contemporary culture?
- How can computers assist sound in media generation for creative and commercial purposes?
- How do sound, text and image inter-relate in new media?
- How does text communicate when sounded, versus in other contexts? - How is sound represented?

SCRG has an unusual range of expertise, representing cultural theory, musicology, empirical cognitive studies, and creative practice in sound and new media, particularly using computer mediation in real-time performance. SCRG therefore fosters the application of multidisciplinary approaches to its research, aware that there can be a productive interplay between approaches and methodologies that are seemingly in conflict. SCRG publications reflect this variety but share an interest in understanding and creatively enhancing sonic communication. The group is outward looking, with collaborations (MARCS Auditory Laboratories, University of Western Sydney), external partnerships (austraLYSIS, creative ensemble, and Great White Noise Pty Ltd., a commercial sound production and project management concern), and involvement in research networks such as the Australian Research Council (ARC)-funded Human Communication Sciences network (HCSNet). SCRG is funded by an ARC Discovery grant (CI Roger Dean), and is developing ARC linkage and other forms of funding.

The following SCRG members are happy to supervise research: Professor Roger Dean - cognition of segmentation and rhythm and segmentation in music, including that in computer music, groove musics, jazz, improvised music, and new music composition, Australian contemporary jazz; comprovisation; computational generation of sound; algorithmic synaesthesia between sound, text and image; sound file recognition by computational approaches.
Dr. Stephen Barrass - sonification, auditory perception, audio interfaces, audio augmented reality, public sound installations, aesthetics of auditory displays, data driven music, new interfaces for algorithmic music, and music visualisation
Dr. Freya Bailes - musical imagery (i.e. 'auralisation' or imagining sound in the 'mind's ear'), music perception and cognition, mental representation of musical structure
Dr. Hazel Smith - new media writing; sonic writing; relationships between text, sound and image; literary representations of music; literary and cultural theory Dr. Mitchell Whitelaw - sound practice, culture and criticism; experimental electronic sound and music; improvisation with real-time inputs and processing; data sonification and aesthetics.

For more on SCRG, visit Contact the co-leaders Roger Dean ( or Stephen Barrass (

SCRG expects all participants to co-publish, and while PhD students and post-doctoral researchers have considerable flexibility in their choice of research topics, and their development, these must cohere with core themes of the group, and attract the support of a member.

Applications for Higher degree places close on 31 October for enrolment in semester 1 in 2006, but international students must apply for study by the end of September. Highly qualified applicants who would like to conduct research within SCRG should note that the University of Canberra has a number of places available for doctoral students on a competitive basis under the Research Training Scheme. Information on RTS, and also on full fee-paying places and fee-waiver scholarships can be found at: There are in addition a number of postgraduate scholarships available ( Outstanding candidates should be able to attract an APA scholarship, or a similar stipend from other sources, and SCRG will assist with such applications for well-focused candidates. SCRG also hopes to have its own funds to provide 'top-up' bursaries in support of outstanding cand!
idates for PhD or post-doctoral research. Australian Government Higher Education (CRICOS) Registered Provider number: #00212K


Sonic Arts Network would like to invite sound/image/text submissions for material to be considered for inclusion in a Sonic Arts Network limited edition CD publication concerning ‘Lists’. The edition will be published in November/December 2005 in a limited run of 1000 editions and will be curated by Craig Robinson, illustrator and creator of
Lists are never far away from us.  As humans, we are obsessed with order.  We have an obsessional drive to categorise, sort and list everything.

In Art, Literature, Science and Philosophy, lists can be found. Musical examples of listing range from Berio to Billy Joel.
We ask for audio (music/found sound/sound art/spoken word), literature, pictures and suggested reference points.
The idea may be interpreted in the widest possible sense and can be approached from multiple perspectives - acoustical, visual, philosophical and personal.
We encourage a diversity of styles and materials for selection.
The CD and its accompanying print materials will be the sixth in a series of numbered, limited edition audio CDs, produced and distributed three times a year, with guest curators and specially commissioned packaging.  The CDs are free to members of the Sonic Arts Network (for more information on membership visit, reaching practitioners and listeners in all corners of the globe, with a limited number of issues released in selected outlets. Previous artists whose work has featured in the CD series have included: Christian Marclay, Yasunao Tone, Francisco López, Antonin Artaud, Jaap Blonk, Lucia Pamela and a host of others.
No payment can be offered for submissions nor materials returned.
Submissions should be sent to:
Lists, c/o Sonic Arts Network,
The Jerwood Space,
171 Union Street,
SE1 0LN.

Deadline for submissions is 19 September 2020
Further information/clarification concerning the submission of materials is available from


Deep Wireless - Radio Without Boundaries
Call For Works on the theme - POWER

What does power mean to you?

Stretch the meaning to fit your idea of power and create a piece for radio that reflects it.

New Adventures in Sound Art invites submissions of any duration less than 60 minutes in length that reflects the theme Power, makes use of original sound sources in interesting and innovative ways and are suitable for radio broadcast. Note there will be a special category called "Radio Art Interventions" on the same theme for pieces less
than 3 minutes in length. Pieces will be selected for broadcast within Canada and on several international radio stations in May 2006 as part of the Deep Wireless festival. Deep Wireless celebrates radio as a creative and artistic
medium for cultural expression.

The International submissions will be considered for inclusion in the following:

-The Deep Wireless 3 radio art compilation CD
-The radio art interventions (these pieces under 3 minutes in length played guerrilla-style on radio stations during the Deep Wireless festival)
-The Radio Art Listening Room - an installation that will run for the month of May
-Presentation during the last weekend in May (a weekend that will also include the Radio Theatre performances and the Radio Without Boundaries conference).

A small number of Canadian artists will be chosen from the submissions to be part of the Deep Wireless Commissioning Programme in 2006 with residencies at Charles Street Video in Toronto.

Submission Details

- Radio works/programs must be completed and not written proposals.
- The call for works is open to artists from around the world.
- Submissions must be postmarked no later than September 30, 2020 and mailed to:

New Adventures in Sound Art, 401 Richmond Street West #358, Toronto, ON M5V 3A8

- Submissions can be on the following formats: CD, cassette, DAT, Audiofile on CD (wav or AIFF, 44.1, or MP3), minidisk, and open reel type
(1/4", 7 1/2 or 15 ips).

- Submissions must include the entry form found on the links below:

Nadene Thériault-Copeland
Managing Director
New Adventures in Sound Art

For more information about New Adventures in Sound Art go to:

Submission Deadline: September 30, 2020 (postmark)

The University of Minnesota School of Music is proud to present the 2006 Spark Festival of Electronic Music and Art, February 22-26. The festival will be held on the Minneapolis campus of the University of Minnesota (USA) and at the Walker Centre for Art, Minneapolis. Now in its fourth year, the Spark Festival showcases the newest groundbreaking works of digital music and art. Last year’s festival included innovative works by over one hundred international composers and artists, including featured guest artists Philippe Manoury and DJ Spooky. Leading scholars and technology specialists also presented papers relating to new technology and creativity. Audiences for the concerts, installations, and lectures last year totalled approximately 2,000 people. Spark invites submissions of works incorporating new media, including electroacoustic concert music, experimental electronica, theatrical and dance works, installations, kinetic sculpture, artbots, video, and other non-traditional genres.

Spark also invites submission of scholarly papers on technical and aesthetic subjects related to the creation of new media art and music. All accepted papers will be published as part of the Spark proceedings. Please see for a PDF copy of the Spark 2005 proceedings and program.


Harvard University Studio for Electroacoustic Composition

The Harvard University Studio for Electroacoustic Composition is proud to present its first INTERNATIONAL COMPOSITION COMPETITION FOR LIVE ELECTRONIC MUSIC.

An international jury will evaluate all works that arrive before the deadline (September 15th, 2005) and will select up to six works to be performed during the Fromm Players at Harvard Concerts, March 6 through March 12, 2006. The six finalists will participate in a week-long festival, work with the performers, attend workshops on all six pieces and participate in several pedagogical events along with the composition students at Harvard University and the jury members. The final concert will be on March 12th, at which time the jury will award one grand prize. The competition will cover flight and hotel expenses for the six finalists.


We invite submissions of new works (written after January 1, 2021) incorporating two to four live performers and live-electronics by composers born after January 1, 1965. The live performers should be drawn from the following list: soprano (voice), flute, clarinet, violin, violoncello, piano.

Although there is no strict limit to duration, pieces between ten and fifteen minutes are encouraged. The work submitted may have been performed in concert. However, it must not have been released in recorded form and must not have been awarded a prize before September 15, 2005. If a recording exists, it may be sent along with other materials, but recordings are not required.


This year, the live electronics focus is on the creative use of Max/MSP or PureData. The composition may make use of sixteen output channels and will be diffused during the concert on the Hydra Diffusion System (24 loudspeakers). A complete, functioning patch containing all necessary elements and an explanatory note for its use should be included in the application together with the score.


The workshop will be an open platform for the exchange of ideas between composers and performers, emphasizing the practical issues raised by performance of live-electronic music. The six selected compositions will be rehearsed as a part of this workshop. There will also be lectures given by the jury members.


Applicants are invited to submit one composition. There is no entry fee. Student works are highly encouraged.

Selected works will be announced by November 1, 2005. Composers whose works are selected for the final workshop and concert are required to attend the entire week of March 6 through March 12, 2006. Should a composer be unable to attend, their work will not be presented. Selected composers must send parts by January 3, 2021 and a photo (free of copyright). The decisions of the jury are final.

* Submissions must arrive before September 15, 2005.
* Include THREE COPIES of the score, the materials for the live-electronic part, and any further documents pertaining to the submitted piece.
* Include a completed entry form (available for download at
* Include a program note and a biography of the composer.
* Materials will not be returned and will become the property of the HUSEAC archive.
* The competition will not pay for any postage fees or customs duties.

Harvard University Studio for Electroacoustic Composition
Department of Music
Music Building, North Yard
Cambridge, MA 02138–2001

For more information email

DOWNLOAD THE ENTRY FORM (PDF) from the website


RMA Research Students‚ Conference, 4-7 January 2006
University of Leeds, School of Music

The RMA Research Students Conference is open to postgraduates studying in the UK or abroad. It offers the opportunity for students to present research in a friendly and supportive atmosphere. Alongside social events, skills training sessions, and concerts, the programme will include:

- two keynote speakers; Professor Richard Rastall (University of Leeds) and Dr Julian Johnson (University of Oxford)
- parallel sessions of student papers
- composition workshops
- performance workshops
- lecture/recitals
- roundtable sessions on music and queer theory, and music and diaspora

For full details, visit the conference website:


Postgraduate students are invited to submit proposals for papers (20 minutes), lecture/recitals (30 minutes), or poster presentations, on any area of musical research. Student composers may present papers discussing their own work, and we welcome presentations that are interdisciplinary in nature. Proposals should not exceed 200 words in length.

Scores and electroacoustic compositions may be submitted for inclusion in the following workshops:

Electroacoustic compositions:

Electroacoustic works are invited for recorded media to be performed on up to twelve speakers, including stereo works for diffusion, multi-channel works, and works that include visuals. All audio work should be submitted on DAT or Audio CD; multi-channel works on Data CD (aif or wav files) or ADAT HD-24 (removable drive); audio-visual work on DVD. Works should be no more than 10 minutes in duration, recorded at 44.1Khz, and should be accompanied by a programme note of up to 100 words.

Ensemble compositions:

Scores are invited for the following ensemble: flute (doubling piccolo), clarinet in B flat, percussion (one player), and electric bass. Works should last 3-5 minutes. In the first instance, please send one score (no parts required) which should be neatly handwritten or computer printed. A programme note (of not more than 100 words) should also be included. Selected compositions will be performed by FOCAM (University of Leeds) and discussed in a workshop (see Percussion parts can be written for standard orchestral percussion instruments and/or African drums. For any unusual requirements, contact Dr Mic Spencer (

A call for compositions for solo brass instrument will be circulated at a later date.

Please send proposals and compositions (with name, institutional affiliation, and full contact details) to:

RMA Research Students‚ Conference
School of Music
University of Leeds


Requests for further details should also be sent to this address

Closing dates:
- compositions Friday, 18 November 2020
- all other proposals Friday 2 December 2020

VARIOUS - UNTITLED SONGS: 49 years from gesang der jünglinge

Portugal's Sirr records present a 2 CD compilation of 21 artists working in some way from Stockhausen’s piece Gesang der Jünglinge. Sirr's reasons for its 'non-homage' is that the piece has become almost public domain by being, "taught in music lessons, and held high as a landmark of specific style or method or epoch. We [should] add it to the common cultural goods, just as we might do with our knowledge of, say, statesmen or famous artists."

So already this creates an interesting perspective, one that moves Gesang der Jünglinge away from the world of academic electroacoustic circles and more towards newer emerging practice. As Andrew Deutsch says in the liner notes "We are now all independent working at home alone." This reflects the wide ranging survey of techniques from familiar field recordings, to the downright odd, to the narrative. We find a collection of work both directly and indirectly related to Gesang der Jünlinge. I like this split with the academic world, in fact of the names I recognise, as far as I know, none are working within academia at the moment. It may be obvious to state, but it is the fact that recent changes in computer power have created such a wealth of experimentation outside the closed world of electroacoustic studios. The one problem here maybe the re-invention of the wheel. Those working outside the studios, those working "at home alone" may not be aware of developments and critical frameworks which surround their work. They risk creating a non-developed music. But it is also important to point out the danger for musicians to think like critics and assume that pieces are born of other pieces, instead of from personal non-musical experience. Becoming obsessed with music already in existence, instead of externalizing perceptions in personal forms is just another way to re-invent another sort of wheel.

So rather than picking over one track versus another in terms of relevance to Stockhausen’s piece, I'll pick few favourites. Voices are both at the heart of this CD and at its absence. Janek Schaefer's piece, one assumes, by being first on the compilation is also a favourite of the label. The charming idea of having the 7 women in his family sing the word love over different pitches creates a simple but distinct beginning to this compilation. Schaefer's own practice seems wonderfully reductive at the moment he keeps the toys, fireworks and glitch software, that can curdle so much electronic music well away from his work, and sticks to volume, spatialisation and a complex investigation of the human voice, where the inconsistencies of the Schaefer family choir create eerie microtones similar to Ligeti's late 60's work for voices.

Achim Wollscheid's slurred short story about maybe hearing Stockhausen for the first time is a beautiful and welcome return to narrative. Recited in a voice sounding like a stand-up comedian whose blood has been replaced by tranquilizers, the atmosphere created is both deeply strange and silly at the same time.

If anything, the most telling sounds that are missing from this compilation are electroacoustic gestures - the bouncing ball, the randomised pitch clusters, accelerating crescendos. Of course this group of recordings is not without its own sound marks. The granulated clicks, smothering undynamic drones, the bubbles of spectral stretching are all other forms of clichés, and regularly appear on some of the tracks here. Clichés that hopefully will not be trapped in style as the software processing becomes more subtle.

On hearing this compilation, one could say experiments in spatialisation have regressed away from the original multi-speaker set up of gesang der jünglinge and into the territory of isolated headphone listening. Dale Lloyd's piece, for example, is almost completely un-hearable [as opposed to un-listenable] on speakers. But on headphones the bustle of city life is temporarily displaced by this extremely fragile work of adjusted speech patterns.

One negative criticism that could be leveled at this compilation is that it fails to address or relate to the extremely spiritual nature of the original Gesang der Jünglinge piece. And so as with all contemporary computer music, sometimes it is impossible to distinguish between progress and empty experiments in formalism. And one of the reasons for this could be that the inspiration, Gesang der Jünglinge, has been treated as an innovative formal piece, with its merging of vocalisations and electronics, rather than the deeply spiritual piece it also is.

If we refer back to the original apocryphal "Song of the Three Children" that the words from Gesang der Jünglinge are based on, then maybe the reframe of thanks that is given from those escaping the fiery furnace is of use:

"Praise him, and Magnify Him for ever."

I see this release as a varied, close-mic magnification of the world today, whoever created it. It is well worth seeking out.

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


Dr Jim's Records

This collaboration between Danish electroacoustic artist Rasmus B Lunding and Australian sound artist Philip Samartzis is a first for the pair and was recorded in 2000 at the Danish Institute of Electroacoustic Music (DIEM).

I'm unfamiliar with the work of either artist but it's not an issue since this album's cover art , sound and track titles are odd enough to get the brain stirring and make for a fine introduction.

Let's start with the cover art. It's not quite what I would envision when listening to the crackling and whirling buzzes in my headphones. The highly sexual and psychedelic cartoon style at first seems a better fit with an early 90’s hardcore breakbeat compilation but throw in track titles mentioning things like flesh openings, lips, tongues, tasting skin, body curves and movement and it comes across as an entirely different record from what I had in mind and I wonder what was actually taking place a few years ago in the studio?

What we do have is an inspiring electroacoustic work; but it's about as sexy as a thousand robotic insects crawling over your flesh.  Both Lunding and Samartzis are able to capture an amazing amount of clarity and rich detail within the eleven frantic but short tracks. Equipment splutters and cranks along and tones buzz by. Birds and flutes are in the distance. String and percussive instruments are plucked and perhaps even dropped and mangled. And what is that? Field recordings of arcades and muffled P.A. announcements? Beautiful. What sounds mostly like an improvised session is given some structure, editing and rhythmic qualities but the strength is in the sounds themselves. More dynamics and variety between tracks would have made an even better collection but overall it's a great work and possibly even sensual for some.

Reviewed by Justin Hardison
Justin Hardison records under the name My Fun and aims to create narrative work using small microphones, sampling, and assorted software sound generation. He lives with his wife and cat in London.