News from the Sonic Arts Network

Trevor Wishart 60

Trevor Wishart, Honorary Member of Sonic Arts Network and one of Britain’s leading Composers, is 60 years old today (11 October). To mark the occasion Sonic Arts Network screened the 1982 film version of Wishart’s ‘Pastorale Walden - 2’, which was shown at University of York on 6 October. Originally performed in 1979 and scored for flute, tuba, mime, costumes, set, props and tape, ‘Pastorale’ is performed from within an animated clock from which the musicians attempt to free themselves. The piece represents the composer’s responses to the behaviorally programmed ‘paradise’ of B.F.Skinner’s ‘Walden 2’ and exposes Wishart’s attitudes towards freewill, creativity and the combination of music and theatre. The 45-minute film version was created in 1982 by David Hutt and features an accompanying discourse by God.

David Hutt as God

The event also saw a live performance of Trevor Wishart’s first ever computer piece, the seminal Vox 5, diffused by the composer. Trevor Wishart continues to be an inspiration to generations of musicians both as an artist and as a music activist. You can read more about Trevor here:



11 October
(av gig)
Roxy Bar and Screen, 128-132 Borough High Street, SE1

A plug n play improvised score for film. The film is MICROCOSMOS and will be followed by an audiovisual mash up by Spax and Milo. Bring an instrument and lead if you want to take part.

12 October
The Flea-Pit, 49 Columbia Road, London

Immersion is a free-entry experimental music/ sound-art event presenting ambient electronics / experimental terrain and tones & drones. Featuring DJ sets of the finest contemporary (quiet) electronic and experimental releases, followed by live performances of artists and musicians from the UK, Germany and Portugal. Plus projected electronic visuals to accompany the sounds.

12-15 October
(dance / installation)
Siobhan Davies Studios, 85 St George's Road, London

SeaUnSea, a collaboration between choreographer Carol Brown, architect Mette Ramsgard Thomsen and composer Alistair MacDonald, is an interactive installation for performers and audience in a constantly evolving audio and visual field. Set under the wave-like ceiling of the Siobhan Davies Studio, the movements of audience and performers impact on the environment. The event will run in cycles during which time visitors are invited to play in the installation, watch the performance, then once again inhabit the space.

13 October
Korners Bar, Farmers Arms, King Street, Lancaster

An evening of live sound art and new music.
Featuring Artists: One Manned Mule, Straight; fizzling foggy soaked scapes, Noise Club; brain destroying noise improvisation and Thought Universe; new electro acoustic live algorithm chaos with beats.

13 - 15 October
Instal 06
The Arches, Glasgow, 235 Argyle Street

The latest instalment of this annual underground music festival is here again. Featuring Keiji Haino + Tony Conrad, The Bohman Brothers, Maryanne Amacher, Blood Stereo + Ludo Mich and many more. On Friday and Saturday night an extra stage will be built and feature young underground acts from Scotland and the UK.

14 October
Frieze: Haswell & Hecker
The Hippodrome, Leicester Square, London

Russell Haswell & Florian Hecker present the fourth multi channel electro-acoustic diffusion session of material generated on Iannis Xenakis' graphic-input 'UPIC Music Composing System'. Curated by Upset the Rhythm.

16 October
Christian Wolff in London
Conway Hall, 25 Red Lion Square, London

A rare UK visit by American composer Christian Wolff. The concert will include UK and world premieres performed by the ensemble Apartment House, John Tilbury, Philip Thomas and others. Christian Wolff will participate as performer and give a pre-concert talk. Music by fellow American composers Charles Ives and Morton Feldman will also be included.

17 October & 19-22 October
Touch 25
Bedford Arms, London / Sightsonic, York

Two UK events to celebrate Touch's 25th anniversary. The first features Fennesz, CM von Hausswolff, Philip Jeck at the Bedford Arms, London with the other event at York's Sightsonic (19-22 October) and featuring Rosy Parlane, Philip Jeck and Fennesz (20 October), Ryoji Ikeda, Biosphere (21 October).

19-22 October
The Space of Sound
Théâtre Marni, Brussels

International festival of electroacoustic music featuring, amongst others, Jonty Harrison, Francis Dhomont, Philippe Mion and Hans Tutschku.

20 October
Disinformation: The Origin of Painting (installation)
Myatt's Fields Park, Camberwell

A live shadow, graffiti and electromagnetic sound installation, "The Origin of Painting" appears as part of the "Light It" festival - also featuring The Barefoot Company, Circus Space, Poulomi Desai, Sofie Layton, Mandinga Arts, Howard Matthew and Ali Zaidi.

21 October
Artist Review Series: Immersivity, Art Architecture, Sound and Ecology
(Artist Review)
Small Hall, Main Building, Goldsmiths College

Transdisciplinary presentations facilitating critical exchange and review through an informal and supportive atmosphere; and guided by specific research interests. General research areas are: live art and mixed media performance; landscape & interactive architecture and sustainability; critical studies and philosophy; biophysics, acoustics, ecology and sound art. The presenters are drawn from these backgrounds and disciplines. Features Ayssar Arida, Mark Fisher, Brandon Labelle, John Lely and Carla Vendramin.

Until 22 October
The Disabled Avant-Garde Today!
Gasworks, 155 Vauxhall Street, London

A collaborative exhibition by Katherine Araniello and Aaron Williamson, The Disabled Avant-Garde Today! pays homage to some of the formative and unexpected influences on Araniello and Williamson's 'disability art'. Presenting a number of new video works and also paintings, the exhibition will revisit the work of such practitioners as Leigh Bowery, Karlheinz Stockhausen, Tom & Jerry, Jake & Dinos Chapman, Simon & Garfunkel, Martin Kippenberger and Busby Berkeley.

26 October
Naomi Kashiwagi: Gramophone DJ Set
Social Sciences Library, Central Library, Manchester

Naomi Kashiwagi performs a Gramaphone DJ set using 78rpm records and is a unique opportunity to hear music in the usually silent space. It will be performed as part of Manchester's In the City festival.

26 October
Acousmatic Music in Bangor
Powis Hall, University of Wales Bangor

Bangor Electroacoustic WALES presents a programme of 'recent classics', along with new acousmatic and real-time pieces from Bangor composers. This will be the inaugural concert for their newly developed Spatial Music System.

26-29 October
Liverpool City Centre

Four days of interventions, occurrences and happenings that punctuate the shifting landscape of the city centre. Liverpool Live will trace, re-examine, interrupt and ultimately re-energise the routes, buildings and landmarks of the changing city. Through performative walks, radio interventions, guided tours and sited performances the artists invite you to look again at Liverpool.

27-28 October
In Media Res
Dance Lab, Dance City, Newcastle Upon Tyne

A collaboration of multimedia and contemporary dance. The project is led by Ben Freeth (visual artist) and Nicole Vivien Watson (choreographer Surface Area Dance Theatre). Other artists involved are: Four contemporary dancers, Thomas Gregory Smith (electric violin) and Steve Legget (composer).

14 November
Sound Alert by Brown Sierra
The Estorick Collection of modern Italian Art, 39a Canonbury Square, London

Part of the Luigi Russolo exhibition life and works of a Futurist 4 October-17 Dec 2006. Sound alert consists of doorbells car horns, bicycle bells and alarms, some of which have been adapted electronically to create a fascinating urban soundscape performance. Tickets include entrance to the museum and a glass of wine. Booking for the performance 0207 704 9522.

22 November
Sound Junction:New Sounds from Sheffield
University of Sheffield Drama Studio

Includes 'GPS for a known place' - (Dorothy Ker/Kate Allen/Gretchen Dunsmore), Varispeed (Martin Archer / Mick Beck) and Spatialised Sounds from Robert Dow and Joseph Anderson.

24-25 November
MANTIS: Francis Dhomont
The Cosmo Rodewald Concert Hall, Martin Harris Centre, University of Manchester

On November 2nd, 2006, the composer Francis Dhomont will be 80 years old. To celebrate MANTIS welcomes Francis Dhomont for a special weekend of concerts. Other Birthday events are also planned including concerts in Brussels Montréal and Paris.


Francisco Lopez

Francisco López is internationally recognized as one of the major figures of the underground experimental music scene. Over the last twenty five years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, He has realized hundreds of concerts, projects with field recordings, and sound installations in 50 countries and over five continents. His extended catalog of sound pieces (with live and studio collaborations with over 100 international artists) has been released by more than 140 record labels worldwide, and he has been awarded twice with honorary mentions at the competition of Ars Electronica Festival. Here, Felipe Otondo questions Lopez about his work, ideas and processes.

I spoke with some of the people who attended your last concerts in York and Sheffield and they said that they had experienced your music as something very different; and this was because of the halls where the concerts took place. What kind of role does the room you’re playing in have on your music?

Sound is obviously not only the result of the sound-producing sources (instruments, sound system...) but also of their interaction with the space. This is absolutely essential when the focus of the performance is on the phenomenological quality of sound, which it is in my case. This interaction between sound system and space (SS-S) is what I need to carefully work with in the live concerts. The same sonic material changes dramatically in different SS-S situations. That's why I have to spend a lot of energy and put a lot of care, not in trying to reproduce always the same thing (which is futile and uninteresting) but rather in getting the most out of each SS-S. As opposed to a very common practice in most popular and traditional music, I'm always placed in the middle of the space (with the audience) and can therefore have a better idea of what's actually happening with the sound in the audience space (which is almost impossible when performing on stage). Instead of being a problem, I take advantage of all the reflections, reverberations and acoustic transformations of sound in the space. All these features truly become playable parameters of my live performances in an active, explicit way. I could say I'm consciously playing the space as much as the sound materials I'm using.

How do you conceive and perform the diffusion for your concerts?

I don't have a specific, fixed conception of the sonic field created during a live performance. Sometimes, some sound phenomena happen in similar ways in different SS-S's, but most of them are completely different, so that "being inside the sound" has different physical and perceptual manifestations. And then you have the myriad of different psychological / emotional responses from the audience towards this immersive experience in sound, which I can't and I don't want to control or direct. I do much more than "diffusing" sound, but I intentionally keep all this, quite frenetic and complex, performing activity hidden from the audience by different means. The reason for doing this has to do with my belief that this knowledge dissipates the sonic experience and its possibilities for the audience. In my conception, the performer should be an invisible operator. I wouldn't call this improvisation, but although what I technically do is control my sound materials and the sound system, it is definitely an active live response to the reaction of the space.

In your concerts you blindfold the audience, how do you think this affects their sonic experience?

The feedback I get from multiple performances is quite satisfying in that respect. Most people describe quite unusual perceptive and emotional experiences by having been temporarily deprived of their sight. Having no visual distractions obviously helps to enhance sonic perception in a dramatic way. In my view, this is the ideal way of listening; perhaps the only true one.

Could you explain your idea of a 'blank-universe' that you have mentioned elsewhere?

I try to convey a "blank universe" that gives the listener the freedom and the opportunity of creating his/her own sonic experience, and all what comes through it. For me, sound is a gate to access areas of perception / mind / spirit that are not accessible in any other way. Different people will access their own areas in a much better way if I don't burden my sound work with specific intentions, representations or meanings. To this end, getting rid of visual elements, titles or the performance presence of the technical means are ways to provide that blank space that is so full of possibilities. I'm more interested in the virtual space created through sound than in the actual space that makes possible its initial physical generation.

How do you conceive the spatial design for a CD production in comparison to that of a concert?

In many ways, "inner" virtual sonic spaces are hardly conveyed in a live space. I make more of a distinction between headphones and speakers than between CDs and live shows. In terms of virtual spaces, a lot of things that are possible in a "headphone world" just disappear or lose their essential character in the "speaker world". It's essential to be aware of this difference when taking decisions in the work with sound. In my pieces I try to create something that can work in both worlds but it's impossible to attain the best of both simultaneously. Most of my CDs are closer to a "headphone world" and my live performances are conceived and realized for the "speaker world".

You don't seem to share the views of Soundscape composers like Barry Truax. How would you describe your music in comparison to that of Soundscape composers?

I don't share their view on sound as a representation and as a property of the sound sources. I don't work with sound that way. To me (as it was for Pierre Schaeffer), sound is an entity by itself, and my feelings / interests towards different sound materials, as well as my compositional decisions, are driven by this approach to sound. In that sense, despite the fact that I almost exclusively use field recordings, my work is not "soundscape music" at all. I'm interested in the creation of new worlds out of what is usually called the "real world". I create virtual sound environments that aim to be gates of access to experiences that have little or nothing to do with that real world.

In previous interviews you have mentioned that in your music there is a transformation of sound related to particular locations where the sounds were recorded. What do you think the role of such transformations is and how do you decide if a sound should be transformed or played just as it was recorded?

Difficult question. The reason why I use field recordings only is that I find that kind of sonic matter amazingly rich and complex as a source material. I'm not really interested in instruments (neither traditional nor electronic, including computers) for the generation of sound sources. Since my interest on sound is phenomenological, the degree of mutation (from none at all to hundreds of generations of processing) of different sound materials varies completely, according to the features of the sources and also depending on the piece. I have no specific rules or recipes for this, and I never have any conception of the piece or the processes I'm going to follow before facing the actual sonic materials and playing with them. My compositional work is completely directed by the sound matter, and not the other way around, as it is in a lot of different music.

Read more about Francisco Lopez here:

Felipe Otondo is a PhD student in composition at the University of York working with electroacoustic music as well as research into spatial design. More information see

CCMIX: 4-Month Course in Electronic Music

The Centre de Creation Musicale Iannis Xenakis (CCMIX) announces a 4-Month Course in Electronic Music. The course runs February - May 2007 at the CCMIX studios in Paris, France. Faculty will include: Carla Scaletti, Jean-Claude Risset, Trevor Wishart, Curtis Roads and Agostino di Scipio. Noted MAX / MSP expert Stefan Tiedje will offer one-on-one tutorials in MAX / MSP throughout the 4 month period. In addition to the course's focus on electronic music and its tools, also offered will be modules on 'visual music' presented by film maker Pip Chodorov and three lectures on Xenakis by scholar Makis Solomos. Participants will receive individual studio time throughout the week with assistance provided. Interested participants may also pursue creative work in the CCMIX Sound / Visuals Atelier. Housing is available at the CCMIX complex.

More information is available by email from Randall Neal, Admissions.

Music Leaders in Creative Renewal

Music Leaders in Creative Renewal is a collaboration between MusicLeader Yorkshire, Yorkshire Youth and Music and Guildhall Connect. It is a professional development programme designed for musicians who have a reasonable amount of experience of workshop leading, and want to develop their skills further. The course was first run in 2004 to critical acclaim from participating musicians.

The programme is based on the development of music skills and their application in workshop-based contexts. The focus will be on invention, collaborative creation and composition, and how it can be used and applied with participants of different abilities, age groups and contexts.

To join the programme you will need to; commit to attend 5 weekends in Leeds (10am 4pm Saturdays and Sundays) between November and March. Self-study learning materials will also be provided on leading learning theories, which will take around 8 hours to complete. There will be a short placement of around 5 days to put learning into practice, which will be paid. All participants will be required to write a project report on completion.

The cost of the course is 150, but as mentioned above, practitioners will
be paid for the 5 day placement. Application is by CV and application form, and the closing date for applications is Friday 13th October 2006.

For more information, or for a copy of the application form, please email or call 01422 321 823.

Ways In - Training for London based artists

Discover, the UK's first children's creative centre in Stratford, East London, is offering training for artists wanting to work with young children and their families. The training includes practical skills, child development theory, a placement in an early years setting and support from an experienced early years artist.

Artists need to have expertise in at least one art form and a commitment to working within community and education sectors. 8 sessions will take place between November 2006 February 2007, artists must be available to attend all sessions.

Discover is looking for 12 artists from a variety of art forms including; dance, music, drama, visual arts, puppetry, circus, carnival and new media.

For further details and an application form please contact Lucy Nicholson 020 8536 5547 or email:

Discover, 1 Bridge Terrace, Stratford, London, E15 4BG

Successful applicants will be required to undertake or have a recent Criminal Records Bureau (CRB) disclosure.

Closing date for applications Monday 30th October

Ways In is supported by Arts Council, London

Free Creative Media Workshops -Silicon Coast Project Bridport

Are you or is someone you know aged 15 - 21?

Do you/they live in or near Sherborne, Beaminster, Dorchester, Lyme Regis or Bridport?

Are you/they a creative person with great ideas?

Would you/they like to learn new skills or use your existing knowledge to create a new project for the web?

PVA MediaLab is looking for for people with creativity and enthusiasm to work with artists making new video, audio and animation work for the web.

For more information email your details to
or text 07806 710661

workshops are FREE so you need to sign up SOON! visit for more information.

ICSRiM RA&RF Vacancies

RA/RF vacancies from ICSRiM ( related to 3D gesture interfaces, digital preservation and cross-media processing.

RA - Interactive Multimedia and Technology-enhanced Music Education

RF/Snr RF - Interactive Multimedia and Technology-enhanced Music Education

RA - Cross-media processing and Multi-channel distribution

RA -- Digital preservation for Interactive Multimedia Performing Arts

RF/Snr RF - Cross-media processing and Multi-channel distribution


Bands from the London Area

The Gretel Collective is searching for bands from the London area to play at the 19th October 2006 at their event at the Bethnal Green Working Men's Club There will be other bands, dj's and visuals from London based artist.

The aim of Gretel is to highlight and promote the diverse roles that women play in the music industry, so your band should have at least one member who is a woman and who is not only singing and good looking in front of a male band. We want women drummers, guitarists, bassists, keyboarders, computer musicians, accordionists if you sing, that's fine too!

If you are interested and available please contact the Gretel Collective as soon as possible with a link to your myspace site:

For more information please have a look at our blog:

Invitation to tender Project Lead Trainer

ignite! west midlands is a major new training and creative music project for teachers and musicians, igniting music activities in West Midlands schools, and running throughout 2007 and early 2008 as a partnership between MusicLeader West Midlands and the regional Creative Partnerships areas. As lead trainer, you will run approximately 72 hours of training for 10 teachers and 10 musicians, and will then advise on and oversee funded projects which the trainees run in appointed settings, with a specific focus on creating new music.

Total project fee: £9,000 to cover all fees and expenses, including co-trainers.

To download a full tender brief, please visit, find the West Midlands regional page, then click on '2006 Activities'. Alternatively, contact

Deadline for submissions: 5pm on Monday 9 October 2020

If shortlisted, you will be invited to an interview in Birmingham on Tuesday 24 October 2020


Call For Works

The "new" San Francisco Tape Music Centre is seeking fixed electroacoustic works (aka tape pieces) for possible performance. Our next festival will take place January 26-28, 2007 at ODC Theater in San Francisco.

All pieces are projected over a 16+ speaker system capable of BEAST-style diffusion of stereo works, multi-channel works, and works in B-format ambisonics.

Please email

+ Program notes.
+ Composer bio (for the printed program)
+ URL to composer's web site
+ Any performance instructions
+ Link to an mp3 of the submitted works online. (this is optional but may help expedite our review)

And please mail the following:
+ Printed copy of emailed material (optional)
+ Audio CD of the work(s) to be considered

If the CD contains more than one track, please specify the number and order of tracks we should consider. A Data CDR or DVD may be submitted for multichannel or higher bit/sample rate files. (please also include a stereo mix on an Audio CD for the review panel!) Materials will not be returned unless a self-addressed envelope with sufficient postage is included.

Send materials to:
New San Francisco Tape Music Centre
2550 9th Street, Suite 207B
Berkeley, CA 94710

We accept submissions throughout the year, however only submissions received before Nov 15, 2020 will be considered for the January 2007 event.

24London: Opportunity for London Based Artists

Visit London are creating a unique exhibition of London which will tour to 3 European cities called 24London, a 24 hour exhibition in each city showcasing 24 London artist's views of London through a variety of mediums.

As one of the most loved, most vibrant, most diverse cities in the world London has a lot to offer and we feel there is certainly enough art out there to showcase just how much of an incredible place it is.

Therefore we are looking for 24 artists who are interested in exhibiting their work all over Europe in a highly PR driven campaign to promote this great metropolitan city.

We are looking for London based artists whose work showcases London in a positive manor to promote the city as a great world class destination. Since the exhibition will begin in early November we are not looking for artists to commission work but simply lend an existing item of their work, which is related to London, to the exhibition. We are looking for work in all mediums and encourage artists to be creative with the London theme.

Please note that there will be no fee for the chosen artist/s but we will cover the cost of all aspects of the exhibition.

If you are interested in this opportunity and your work is clearly reflective/representative of London in a positive light please email us with some brief information about yourself and 1 or 2 examples of the work you wish to submit.
SML- 0207 231 7979

Upstaging Nature

Lookoutpost is once again calling for artists of any discipline to exhibit within the unique setting of Sydenham Hill Woods, South East London.

To celebrate the 25th birthday of the amalgamation of the woods with the London Wildlife Trust, this year's exhibition Upstaging Nature considers the consequences of placing art work in an environment which has a tendency to dominate everything around it. Work which seems prominent in a gallery or studio space has been overwhelmed or lost in the grandeur and innate beauty of the woods.

In light of this, proposals are requested for alternative ways of producing/presenting work that might upstage nature. Artists need not to read this title too literally. There are many ways of upstaging, and a variety of senses and subtleties can be brought into play in negotiating the challenge of the woods. Performance and live artists are particularly welcome. All the woods a stage.

The exhibition will run over the course of a weekend, mid August 2007. There will be an artist's fee of £175 plus transport and material costs, subject to funding. Applicants should remember that the show will take place outside, therefore work should be durable, vandal proof and sensitive to the environment.

To apply, please send a current CV and no more than six supporting images along with a proposal briefly outlining the following:

A description of the work you plan to make and it's relevance to Upstaging Nature. An approximation of how long the piece will take to make/install/perform. A rough budget breakdown, including transport costs and any technical equipment needed. Artists are encouraged to keep technical requirements to a minimum due to the external setting of the show. Any requests concerning location within the woods (near a tree, in a clearing, next to a pond?)

For the purpose of funding applications, 50-100 words on how this project is relevant to you and might further your practice.

Please send proposals to
London Wildlife Trust,
c/o Horniman Museum,
100 London Road,
Forrest Hill,
SE23 3PQ.

Please include an SAE for return of materials.

Deadline 20th November 2006

Sound:Space - Screen Call for Submissions

South Hill Park Arts Centre is hosting the Sound:Space Symposium event on 20th January 2007. The day features talks and discussions examining contemporary artistic use of sound in the environment, featuring Janek Schaefer, Kode9 & The Space Ape, Neil C. Smith, Radio Access Memory, Prof. Aaron Watson, Acoustic research of Megalithic monuments, Sonic Arts Network, Resonance FM, Open Source audio software lab, digital distribution systems.

Sound:Space Screen will present video documentation of spatial sound installations, audio and architecture projects, environmental sound interventions, during the whole day in our cinema.

Artists are invited to send in submissions on DVD (PAL format) to contribute to this unique event. Please enclose written details of the project and artist biog.

Deadline for submissions: Friday 1st December 2006

Send to: Martin Franklin, Sound:Space, South Hill Park, Bracknell RG12 7PA. UK

Tel: 01344 416261

Event supported by Sonic Arts Network

One Minute Soapbox - Call for Sound Works for Radio Program 'For Love and Money'

A new two-part show to be broadcast on Resonance FM from the Frieze Art Fair on Saturday 14 and Sunday 15 October 2020 from 1-2pm.

For Love and Money takes a look at the art economy through the eyes and experiences of artists and curators, far removed from the glitz of one of the world's most profitable art fairs. Supporting and enriching the art world as the creators of the objects exhibited, traded and profited from, the average artist in London remains below the minimum wage threshold while last year's event had a turnover of £33 million from the business of around 150 galleries.

'For Love and Money' invites artists and cultural workers at the thin end of the financial wedge to respond and react to the fair, moving the agenda away from profit towards a greater sympathy concerning the place of art in contemporary society.

We are inviting responses to the following open slot:

One Minute Soapbox

Got something interesting to say about art and money? Perhaps a useful way to get good freebies? Or a definition of in-kind support, tips for artistic money saving hints or an idea for a new economic model?

You are invited to make a contribution to our One Minute Soapbox open slot to be broadcast during the For Love and Money programme, from the Frieze Art Fair on 14 and 15 October from 1-2pm. Only two rules: no swearing and no repetition. You might speak, rap, sing, mix, or collect sound. Anything goes as long as your point is clear.

Email your audio file for selection in MP3 format via along with your name, email and one-line description of the work for an introduction.

For Love and Money is produced by Joanna Callaghan and Russell Martin, who are curating creative responses springing from some of the issues raised in the six-part radio conversation, Show me the Monet (, broadcast in July and August 2006.

For further information visit

Call for Submissions

Trampoline Nottingham Platform for New Media Art: Urban Play

Deadline: 23rd October

Event to be held on 23rd November

The Theme - Urban Play: The city is paved with pixels, the flow of traffic becomes the flow of bits, the flow of people, the flow of electrons. Streets and circuit diagrams become meshed. The race has begun.

Each one of us becomes a player in the game of the city, furiously manipulating the control pad, tapping buttons, flicking switches. Leaping from platforms, scaling the walls the concrete/media playground is before us.

Hurtling around corners, lunging up surfaces, shooting through the streets. Join the rush and surge of the city, find new ways to play the game.

Trampoline invites you to participate in 'Urban Play' a one day event held on 23rd November in Nottingham, UK. Its objective is to merge video gaming, art and design with the investigation of the city space. The structures of the city are increasingly pervaded by new media with screens, cctv, electronic networks, mobile devices, implements often designed to control our movement through urban space and even to remove us from our surroundings. We wish to investigate how new media can form an even tighter relationship with our immediate environment - challenge and subvert its conventional structures, hacking the city.

What we are looking for:

We are searching for work which explores urban space and methods of play, in particular projects which combine these areas in examining and utilising new media elements of the city, We invite you to submit proposals of urban games, creative computer games, video, interactive installation, audio guides, sound, music and performance exploring play, gaming, new media and the city.

We especially encourage the submission of participatory works which promote a high degree of audience involvement. This includes informal exploratory workshops as well as completed projects.

Key points to focus the proposal on are:

a.. The relation between the work and the city
b.. The element of play and
c .. Its encouragement of audience participation

How to Submit work:

Please fill in the Submission Form, downloadable from

Submissions should include:
Images/documentation/video footage
Description of work

Please note for those submitting video works:

We would request that you send the full version of your video works in PAL AVI data format if possible

Deadline to submit proposals is October 23rd 06
Submissions should be postmarked by this date

Please send your applications to:

Emma Lewis

14-18 Broadway Media Centre
Broad Street

Urban Play intends to challenge our notions of gaming and the city;
Going beyond the Playstation
Going beyond the screen
Going beyond the wall

Any queries please contact Emma Lewis
+44 (0)115 8409272

Call for Proposals Electroacoustic Music Studies Network (EMS)

International Conference Series - 4th Conference 'EMS07' June 12-15 2007, De Montfort University, Leicester, UK

"The EMS Network has been organised to fill an important gap in terms of electroacoustic music, namely focusing on the better understanding of the various manifestations of electroacoustic music. Areas related to the study of electroacoustic music range from the musicological to more interdisciplinary approaches, from studies concerning the impact of technology on musical creativity to the investigation of the ubiquitous nature of electroacoustic sounds today. The choice of the word, 'network' is of fundamental importance as one of our goals is to make relevant initiatives more widely available." (

EMS07 - Electroacoustic Music Studies - Conference Theme:

The 'languages' of electroacoustic music

Conference Committee
Marc BATTIER (MINT-OMF, Université de Paris-Sorbonne)
Simon EMMERSON (MTI, De Montfort University, UK)
Leigh LANDY (MTI, De Montfort University, UK)
Daniel TERUGGI (INA/GRM, Paris)

12-15 June, 2007 - De Montfort University, Leicester, UK

For full details visit:

Call for Papers

Sound in the Era of Mechanical Reproduction

November 2-3, 2007

Hagley Library, Wilmington, Delaware

For the conference, Sound in the Era of Mechanical Reproduction, the Centre for the History of Business, Technology and Society invites proposals for empirically based historical papers that analyse sound in commercial, technological and legal environments since the late 19th century. The conference will take place November 2-3, 2007 at the Hagley Library in Wilmington, Delaware. Our principal interest is in papers that explore the integration of sound with the commercial practices of music, radio, film and television, and the commercial engineering of sound in social environments such as shopping and the workplace. Proposals can consider the legal and cultural implications of innovations in technology and business practices, such as the impact on the political economy of sound and notions of sound and sound-based products as property. We also encourage papers that explore sources of innovation in sound and music (especially from communities and/or business enterprises defined by ethnicity, race, or region), as well as those focusing on the transnational circulation of sound-related technologies and business practices.

Proposals should be no more than 500 words and accompanied by a short cv. Deadline for submissions is March 31, 2007. The program committee includes David Suisman, Susan Strasser, Philip Scranton and Roger Horowitz. Travel support is available for those presenting papers at the conference. To submit a proposal or to obtain more information, contact Carol Lockman, Hagley Museum and Library, PO Box 3630, Wilmington DE 19807, 302-658-2400, ext. 243; 302-655-3188 (fax);

Call for Performance Work

'In The Flesh' is a platform for experiments in performance in and around the Barbican Theatre Plymouth on the 17th, 18th and 19th of November 2006.

You have the opportunity to submit a piece of work for possible inclusion. Anyone who makes live performance work can submit something for consideration.

We are looking for:

experiments in live performance; theatre, dance, live art, music, collaborations and other 'live' experiences. Polished or unpolished, finished or work in progress (min 3 max 30 mins, average 10-20 mins)

If you require further information and a submission form please contact;

Kevin Johnson
Artistic Project Manager
01752 242017

Leonardo Music Journal Call for Proposals

LMJ 17: My Favourite Things: The Joy of the Gizmo

If, as Marshall McLuhan so famously suggested, the medium is the message, then the gizmo must be the one-liner. From baroque violinists to laptoppers, sound artists have long fetishised the tools of their trade, the mere naming of which can provoke an instant reaction: Shout "LA-2A," "TR-808," "JTM45" or "Tube Screamer" in a room full of musicians, and you will notice the eyes brighten, the breath shorten and the anecdotes pour forth. But only to a point: Many a "secret weapon" is held close to the chest.

This is the chance to get that secret off your chest: LMJ 17 will address the significance of physical objects in music and sound art in a time of increasing emphasis on software and file exchange. We are soliciting papers (2,000--5,000 words) and briefer artist's statements (500-1,000 words) on the role of purchased or homemade instruments, effect boxes, pieces of studio gear, "bent" toys, self-built circuits, and so on, in your work as a composer, performer, artist, producer, recording engineer, etc. Wherever possible, please include photographs of your subjects (300 ppi TIFFs preferred).

Please submit a brief proposal by 23 October 2020 to Nicolas Collins at <>. Final texts and all materials (text, image, sound file) must be received by 2 January 2007. Contact Nicolas Collins with any questions.


Radio Gallery

Thomas Beecham once quipped that a new music commission receives two performances, the second being its echo. Though Beecham was part of this problem rather than part of its solution, he had doubtless identified a real and still present headache for commissioners. How does one guarantee a wider audience than merely those privileged souls fortunate enough to be present at the premiere? For the commissioners of radio art the transitory nature of the medium itself, where works are transmitted on a one-shot basis to an indeterminate number of isolated listeners, can seem an even more bitter pill to swallow.

Fortunately Radio Gallery, a series of 12 commissioned radio programmes broadcast on Resonance FM, tackles this problem through the incorporation of an online exhibition space as part of its strategy to reach unknowable and unidentifiable receivers beyond its immediate broadcast reach of the M25. In this project curated by Anna Colin, contributors treat the one-hour broadcast window as a temporal frame for artistic interventions. These audio artifacts reaffirm Resonance’s mission of presenting heartier fare than the record collector naval-gazing of easy street experimental music and sound art radio programming.

The curation reflects a true variety of approaches. These range from the abstract station hopping radiophony of Raimundas Malasauskas’s Radio Diner, Thibaut de Ruyter’s fascinating documentary outline of investigations into the occult chimera of Electronic Voice Phenomena and the live to air audience participation and technical ‘seat of the pants ride’ of Dirk Fleischmann’s The Stop Show. Radio Gallery is a project that outlines the potential for artistic appropriation of the airwaves and the potential of the web to act as a conduit to both temporarily and geographically remote audiences.

Reviewed by Richard Whitelaw

First published in a-n Magazine, October 2006