News from the Sonic Arts Network

Interesting Results
Music By A Committee Of One or, "I Feel Like I'm A-Fixin' To DIY"

Sonic Arts Network is pleased to announce the release of "Interesting Results" the latest in its acclaimed series of individually curated CD publications. The project was compiled and annotated by author and producer Irwin Chusid.

"Interesting Results" celebrates the individual. Do-It-Yourself has always been with us. Before assembly lines, clocks and shoes were made by artisans, one at a time. Ambitious amateur musicians have made and released records independently since the advent of 78 rpm discs. However, in the 1970s, with the emergence of the consumer cassette revolution, DIY became a philosophical phenomenon. Since that decade, as technology developed and the cost of studio gear plummeted, the playing field for recording artists has levelled. What once entailed a lengthy, complex and expensive process can now be done on the quick and cheap, and, often, in solitude. This doesn't mean all bedsitter recordings will get heard -- but they exist. We just have to find them -- and find time to listen.

The CD-publication features exclusive tracks from Peter Grudzien, "Shooby" Taylor 'The Human Horn', Lucia Pamela, B.J. Snowden, R. Stevie Moore, Ariel Pink and other extraordinary artists. In keeping with the DIY aesthetic of the publication the booklet includes special 'cut out and assemble' figures of the artists as well as detailed track notes by the curator.

Irwin Chusid launched the Raymond Scott and Esquivel revivals by producing CD reissues of those maestros. He codified a new musical genre with his first book, Songs in the Key of Z: The Curious Universe of Outsider Music (2000, A Cappella Books), and produced two companion CDs of the same title (Gammon Records). In 2001, Chusid produced The Langley Schools Music Project, which became an unexpected sensation - it reached #1 on and was the subject of a VH-1 documentary.  His new book is The Mischievous Art of Jim Flora (Fantagraphics). Since 1975, Chusid has hosted a weekly free-form radio program on WFMU (

"Interesting Results" is available now from Sonic Arts Network for £15 or, for greater value, we recommend becoming a member of Sonic Arts Network and receiving this publication and the next two in the series over the next 12 months.

01. Ariel Pink - "Alisa"
02. Peter Grudzien - "Nothing"
03. Lucia Pamela - "Hap-Hap-Happy Heart"
04. Harry Merry - "Hoyendish Ambrosial"
05. Chris Butler - "Juice"
06. Petra Haden - "Armenia (City in the Sky)"
07. 'Shooby' Taylor, The Human Horn - "Indiana"
08. Bob Vido - "Boo-Bah-Bah"
09. B.J. Snowden - "Drug Free"
10. Y. Bhekhirst - "Hot in the Airport"
11. Eric Alexandrakis - "Hooligan Hotline"
12. R. Stevie Moore - "Where Do I Come From?"


24 November
Radian vs Fennesz
Bush Hall, London
An electroacoustic fracas between Radian and Fennesz.

Saturday 27 November
(Live Performance)
Jug of Ale, Birmingham

Ongoing travels through the far reaches of interstellar soundscapes at a velocity that rivals that of darkness creeping over the horizon. 5ive slowly but surely grips with its sonic mantras, hypnotizing audiophiles into trance-like states of aural ecstasy. Similar to a black hole in its colossal power, 5ive's ability to suck in the consciousness of spectators into its realm of existence remains unrivalled by any other force in the universe.

Monday 29 November
(Live Performance)
Custard Factory, Birmingham

SUNN 0))) is a side project of Khanate/Burning Witch (Steve O' Malley) and Goatsnake (Greg Anderson) members. It was formed in memory of the cult drone-riff founders EARTH and honours the beautiful Ozma. The SUNN0))) mission is to create trance like soundscapes with the ultimate low end/bottom frequencies intended to massage the listeners intestines into an act of defecation.

kREEPA mix electronic and acoustic elements to create improvisations that explore the dynamic interplay between acousmatic synthesis and instrumental approaches.

Saturday 27 November
Michaelhouse Centre, Cambridge
Zaum makes music instantly conceived and played by improvisers brought together by drummer Steve Harris. Steve has been active on the British jazz and improvised music scene since the early 80s. Improvisers from wildly contrasting backgrounds, including Cathy Stevens - six string Eviolectra, viola; Udo Dzierzanowski – guitar; Geoff Hearn - tenor/alto/soprano sax; Karen Wimhurst - clarinet/bass clarinet; Adrian Newton - live and found samples. Zaum has recently been described in The Wire as 'one of Britain’s most remarkable improvising ensembles’. The current national tour is timed to coincide with release of Zaum's second album. Further details of this and other tour dates at

19 - 28 November
Huddesfield Contemporary Music Festival
Various venues, Huddersfield

HCMF delivers its 27th celebration of cutting-edge jazz, orchestral, choral and electro-acoustic performances, along with film, dance and music theatre. Over 40 events packed into 10 days, including concerts, workshops, films, discussions and theatrical performances. bringing together figures of international renown with emerging creativity and young talent. This year's Festival promises over 28 UK premieres, 12 world premieres and 4 commissions of brand new work.

25-27 November 2004
Media Cenre, Huddersfield

Ultrasound is a three day international festival exploring experimental sound, electronic music and the creative use of new and emerging technologies. Ultrasound 2004 presents a diverse programme of live performances, workshop, installation, presentations and DJ night.

The live sets present UK and international creators of contemporary electronic music who use experimental programming techniques to create a range of musical performances embracing fractured, impossible rhythms and delicate organic sounds.

Saturday 4 December
The State of Affairs II
(One Day Symposium)
Conway Hall, London

A one day symposium, organisd by the Sonic Arts Programme, Middlesex University and featuring Rut Blees Luxemburg, Max Eastley, John Levack Drever, Conor Kelly, Andrew McGettigan, Dave Beech and Salomé Voegelin.

Thursday 9 December
Gavin Bryars - London Sinfonietta
Royal Festival Hall, London

Gavin Bryars is one of the most celebrated and important post-minimalist composers in Britain today. He started as a jazz bassist, then abandoned improvisation and worked for a time in the USA with John Cage. Later he founded the radical Portsmouth Sinfonia. Since then he has collaborated with artists as diverse as Richard James (Aphex Twin) and Tom Waits, to name but two.

Tonight, Bryars conducts the cutting-edge ensemble the London Sinfonietta, who packed the RFH when they performed in Warpworks & 2oth Century Masters (2003) and with Squarepusher and Jamie Lidell in 2004 as part of the hugely influential Ether festival.

The concert is brought to a close with the London premiere of Bryars' major new work From Egil's Saga, a piece connecting with Nordic themes and using advanced technology. The evening also includes two of Bryars' best known works - Jesus' Blood Never Failed Me Yet (the piece which first brought the composer international acclaim) and The Sinking of the Titanic(featuring Aphex Twin remix).

Journées Design Sonore - Review

The Second Symposium on Sound Design / Journées design sonore took place in Paris, October 13-15.  This event was organised by the Société française d’acoustique, in collaboration with IRCAM, and with the participation of several corporate partners.

The hub for conference activities was the Centre Georges Pompidou, which simultaneously hosted a major retrospective exhibition on the linkages between visual art and sound (Sons & Lumières).  This remarkable exhibition included (among many other pivotal pieces) autograph scores of some of John Cage’s best-known works, and a reconstruction of La Monte Young’s ‘trippy’ Dream House.

A playfully intelligent exhibition of audio installations by contemporary artists (Écoute) ran concurrently in another gallery;  though nominally aimed at a younger audience, this exhibition attracted a public of all ages.

Because the conference was held in parallel with part of IRCAM’s Résonances (an “International Convention on Musical Technologies”) participants also had access to related activities at IRCAM, including sound installations, concerts, and presentations by IRCAM-linked researchers and artists.

The combination of activities made for a bewildering range of options and opportunities for participants, and it was sometimes difficult to decipher the locations, times and ticket requirements for the events. More positively though, these parallel events added considerable interest and value to the Journées – and entrance fees for many were already included in the conference registration.

In any event that brings together disparate communities, participants initially tend to huddle in small, defensive clusters.   A well-lubricated reception held at IRCAM on the first night seemed to help considerably in opening up communication among participants.

Conference Content
The conference brief covered many applications of sound, both creative and industrial, and brought together an eclectic mix of industrial engineers, theorists, researchers, and artists.  This breadth was the ultimate strength of the event, giving delegates working in diverse areas an opportunity to discover how their own work in sound fits into the broader theme of sound design.

Structuring the paper presentation schedule around a series of topics or themes helped break the diverse subject matter into more manageable (though inevitably overlapping) subsets: sound objects; product; HCI/sound signalling; space; and media.  

Understandably for an event held in Paris, the French sound design community was broadly represented; two presentations on sound design in media were particularly captivating.  Jean-Jacques Birgé’s work in interactive multimedia was fresh and creative, while Cécile Le Prado’s score and sound design for the Alain Escalle film The Tale of the Floating World was hauntingly effective.  Both artists articulated their processes and intentions very well.

Arnt Maasø of the University of Oslo presented a very different perspective on sound design in media, with his informative and entertaining analysis of the evolution of sound design in “live” sports telecasts.  Watching the footy will never be the same.

ICAD ( is a group focused on the development of technologies and techniques for sonification of data in practical applications, such as industrial monitoring, aircraft cockpits, and medical diagnoses.  This group’s perspective was lucidly highlighted in a presentation by Stephen Barrass of the CSIRO ICT Centre in Canberra, Australia.  Barrass is also very involved with artistic activity, and specifically encouraged the participation of composers in auditory display applications.

Two presentations offered quite different takes on sound in space.  Nigel Frayne of Resonant Designs, Australia, presented his thoughtful installation design for the Australian Centre for the Moving Image in Melbourne, which was strongly reflective of his broader sensitivity to the sonic environment.  Frayne is also currently Chair of the World Forum for Acoustic Ecology.

Karmen Franinovic and Yon Visell of Zero-th Studio, Croatia, presented the development of recent interactive environmental sound sculptures – pieces that effectively invite contemplation and play in equal measure.  These engaging works were installed for several intervals in front of IRCAM, where they generated considerable public interaction and response.

Product and industrial sound design was well covered too, with presentations ranging from acoustic branding in automobiles to procedures for designing the sound of ‘quality’ into luxury cigarette lighters.  The automobile presentation certainly made sense: we always suspected that ‘sporty’ exhaust sound that we love (or hate) was no accident.  However, a real Marlboro man probably prefers his scratchy sounding old Zippo to the undistinguished ‘click’ that was postulated as the sound of luxury.

Considering the breadth of focuses, there was surprisingly little overt disagreement during the conference, though Swiss ‘Corporate Sound’ executive Peter Philippe Weiss did manage to stir up the artists in the crowd with some facile comments about ‘specifications’ for creative processes.  Fortunately, this had the positive effect of generating a lively, and much-needed, dialogue about artistic values in sound design.    

Post-conference at IRCAM
IRCAM’s Open House weekend (a part of Résonances) conveniently followed the three days of the conference, and many delegates took advantage of this opportunity to penetrate the inner sanctum and learn more about research currently underway there.

One of the most exciting projects demonstrated was IRCAM’s work on Wave Field Synthesis, an evolving technology with the potential to transform the delivery of spatial information in rooms and performance venues.  Project team leader Olivier Warusfel was particularly accessible and informative about the team’s work.

Also of considerable interest is the Phase project, which explores applying industrial haptic interfaces to interaction with musical and visual material.  An example of this work was installed in the Écoute exhibit, and a number of conference delegates received a helpful personal introduction to that installation from composer/sound designer Roland Cahen.

Given the continuing breakdown of clear classifications and categories for the sonic arts, a symposium which deliberately makes room for many points of view is a valuable and welcome alternative to the more narrowly-focused gatherings that more typically serve particular practices and disciplines.

Although some improvement might have been made in communicating information about the many optional activities, on the whole the Journées design sonore was well-organised, efficiently run, and rich and informative in both its core activities and in the extraordinary parallel exhibitions.  

Information was not yet available about a possible 3rd iteration, but announcements are likely to be posted on or

Reviewed by Steven Naylor


Community Radio Projects

Castle Vale Community Radio is planning to expand and may soon be serving around 170,000 people across 3 wards in North Birmingham and Solihull. As well as broadcasting twice a year on the Castle Vale housing estate, our work over the last 10 years has involved many projects with schools, youth clubs, day centres and other community groups and individuals. We have run workshops, research projects, archival work, produced radio plays and collaborated with local artists, writers, radio professionals, students and cultural agencies.

To help us establish a presence in our new expanded broadcast area we are now looking for proposals for all sorts of projects. If you have an idea for a community radio project we may be able to access funding, provide production facilities, link you up with community groups and ultimately broadcast your work across North Birmingham.

Visit for more info on the station. There is no closing date for proposals. Projects will run on an ongoing basis from late 2005. Please email all proposals, expressions of interest or enquiries to

Contemporary Media Artist Wanted

Massachusetts College of Art

Established in 1873, Massachusetts College of Art (MassArt) was the first and remains the only freestanding public college of art and  design in the US. The college is nationally known for offering broad access to a quality professional arts education, accompanied by a strong general education in the liberal arts. A major cultural force in Boston, MassArt offers public programs of innovative exhibitions, lectures and events.

The Studio For Interrelated Media (SIM) program within the Media and Performing Arts Department is seeking a highly motivated Contemporary Media Artist for a full-time, tenure track position beginning Fall,  2005.

SIM is a multimedia program with a strong emphasis on critique and conceptual foundations. The SIM curriculum is built upon a Major Studio class comprising weekly student-run presentations and productions where students select, schedule and technically support their colleagues' presentations; as well as idea-centred art-making; team teaching; and individualized advising. Students work in all media, with a  concentration on interdisciplinary practice and innovative technologies. Please visit for more information.

Applicants should possess appropriate experience and commitment to teaching and advising a diverse student body, a strong portfolio, and multi-disciplinary knowledge (including some combination of the following - interactive media, video, sound, live performance, installation). Experience with web-based applications and/or computer programming a plus. Applicants should have a demonstrated vision for  21st century Art-making. Experience with team teaching is essential. Position includes administrative and departmental responsibilities. MFA or  equivalent degree is required. Review of applications will begin December 1, 2004. Position open until filled. Send letter, CV, and statement of teaching philosophy to:

SIM Search Committee
Human Resources
Massachusetts College of Art
621 Huntington Ave.
Boston MA 02115


The School of Sound at the Brief Encounters International Short Film Festival
18 - 19 November 2004, Bristol

The SoS is programming six masterclasses over two days of the Brief Encounters Festival, giving an insider's perspective on the techniques used to create music and sound for film.

Speakers include:
Alison Bown   sound designer for video games and film
Stephen Deutsch   composer, Head of Music at NFTS and Bournemouth University
Paul Gladstone Reid   composer and musician
Mike Grigsby   documentary director
Robin O’Donaghue   Head of Post Production Sound, Shepperton Studios
Annabelle Pangborn   singer, composer and sound designer
Chris Watson   wildlife sound recordist

For more details or to register for the event, click on the link below.

The School of Sound is produced and directed by Larry Sider and Diane Freeman. Larry Sider is a film and television editor and sound designer, and Head of Post-Production at the National Film and Television School, Beaconsfield, England. He lectures in the UK and abroad. Diane Freeman is a former television producer and production manager. She is a qualified trainer and member of the Chartered Institute of Personnel and Development. Diane was formerly Deputy Chief Executive of PACT and has produced several symposia including “Television from the Nations and Regions” at the Lowry Centre, Salford, and “Animation Means Business” at the National Film Theatre, London.

If you would like more details about the School of Sound please contact us by email or at the number below:


The School of Sound

Tel +44 (0)20 7724 6616 

Fax +44 (0)20 7723 1826

Research Fellow in Fine Art (Digital Media Art)
University of Sunderland
Fixed Term to 31st December 2007. £21,640 per annum.

You will establish, develop and run a research unit for digital media  art housed within the area of Fine Art.  It is expected that this will  involve a programme of research/professional ractice activity with researchers/artists of national and international standing.

The research unit will have a focus on co-operative opportunities from within Art and Design and will also seek to work collaboratively with other institutions and artists in the UK and abroad. You will also be expected to carry out personal research within the context of the unit and to contribute to the teaching of Fine Art (2 days per week at undergraduate and/or postgraduate levels).

For enquiries please contact Eric Bainbridge, tel: (0191) 515 3772 or email:

Ref No:  ADR001/01

The University of Sunderland application form and Role Profile for these posts can be obtained by contacting the Human Resources Department on 0191 515 2057 or

Closing Date: 12th November 2004


17-20 JUNE 2005 - In conjunction with University of Hull, Scarborough Campus
Deadline for proposals: 31 January 2021

Expo 966 is an opportunity to showcase the work of the best UK practitioners, to meet, listen and respond. After the success of last year's highly eclectic event in Leicester the focus now shifts northward with a packed weekend of SAN curated action hosted in association with The University of Hull, Scarborough Campus. This weekend of performance, exhibition and presentation will take place across a variety of public venues and spaces in Scarborough including concert halls, bars and nightclubs, each reflecting the unique culture of this northern seaside town. The weekend aims to highlight the broadest possible range of approaches and thinking that surrounds the sonic arts. We welcome submissions of all kinds.

There is no charge for the submission or acceptance of work, and indeed entry to the weekend continues to be free to all members of Sonic Arts Network with most events free to all members of the public. We do ask that selected artists attend the event.

Call for Works, Papers and Commission Proposals


Submissions are sought in all forms of sonic art including real-time interactive works, improvisation with technology, experimental electronica, instrumental/electroacoustic mixes, acousmatic music, installations, environmental sound work, performances, internet-based creative work, sound and image works and cross-arts work. Though we welcome submissions of all kinds we are particularly keen to receive submissions that reflect in some way the cultural context of Scarborough.

Works must have been created after January 2004.

Some resources are limited and, for example performers must be supplied by the submitting artists, however a range of performance and presentation spaces will be available at The Spa Centre on the Scarborough seafront (including a large auditorium with open stage and a generous bar space suitable for less formal concert presentation) and the Campus Centre, University of Hull Scarborough Campus  (including two performance spaces, a bar space equipped with PA system and video projection and multiple rooms of various sizes for the presentation of installation work). There is also scope for outdoor performance and we will be staging late bar gigs on every night of the conference including a Friday evening opening gig at the Ocean Room at the Spa Complex on the Scarborough seafront and an exclusive electro-cabaret event for late Saturday night in a renowned local nightclub! 

Available equipment will include: a multi-channel sound diffusion system catering for projection of stereo and multi-channel works (ADAT or hard disk) and smaller, adaptable stereo systems suitable for installation work, Macintosh G5 (dual processing) and G4 computers (OSX and OS9.2) with Digi001, 002 and MOTU 828 Firewire (mark one) audio interfaces. Video projection facilities are also available.

Research Papers

Aurality and Identity

Aurality and Identity is the theme of the final day of the conference (Monday 20 JUNE 2020) that will be devoted to research presentations relating to the ever-increasing presence, and wider understanding of, the social implications of sound. This is to include the use of sound in projects and works that address concepts of cultural, social and political identities as well as the role played by aurality in learning and communication with regard to social development and education theory.  Presentations may take the form of written papers or discussions of creative, research or practical work (including work in progress). Presenters should plan for 20 minutes presentation time and a further 10 minutes discussion time will be allowed.

Submission Guidelines

Submissions of papers and works should include:

_ Title of work/paper

_ Name of author(s)

_ Contact details (name, address, telephone/fax, email, URL)

_ Brief bio (150 words max.)

_ Description of artistic concept (250 words max.)/Abstract summary of paper (500 words max.)

_ For artistic submissions, the role of technology in realisation of work (100 words max.)

_ Technical resources required for presentation (specifying those that can be supplied by the artist in the case of artistic submissions)

_ For artistic submissions an audio/video example of work (CD or link to www site)

*Please note, we require the written information to be emailed to Dan Stone at and clearly labelled hardcopy of examples of work to be sent to:

Expo 966
Sonic Arts Network
The Jerwood Space
171 Union St
United Kingdom

Deadline for proposals: 31 January 2021


In addition to our call for existing works, we are once again pleased to offer two commission opportunities for the creation of new works to be premiered at the Conference. Proposals for work are invited from British artists or artists living and working in the UK. A sum of £1000 is offered for the creation, production and realisation of new work.

Place, Environment, Location, Identity

Works that address these themes and specifically the context of Scarborough, it’s landscape, environment, history, culture and people are particularly encouraged.

Commission proposals should include:

_ Title of work

_ Your name

_ Your contact details (name, address, telephone/fax, email, URL)

_ A brief biography (150 words max.)

_ Audio/video example of your previous work (or link to www site)

_ A Description of the artistic concept to be commissioned (500 words max.)

_ The technical resources required for the presentation (specifying those which will be supplied by the artist)

_ A simple budget specifying your fee, the production and material costs, presentation/ performance costs, other costs (and any other sources of funding where required)

*Please note, we require the written information to be emailed to and clearly labelled hardcopy examples of work to be sent to:

Expo 966 Commissions
Sonic Arts Network
The Jerwood Space
171 Union St
United Kingdom

Commission proposals should be clearly labelled and reach the Sonic Arts Network office by January 31 2005

The time-scale for creation and completion of work is 1 March 2021 to 1 June 2020 and proposals should demonstrate a strategy/timetable for successful completion within this period.

Sonic Arts Network's Hi[gh]BroW call
An International Tape Music Composition Competition

As part of its extensive and acclaimed commissioning policy Sonic Arts Network is once again flying the flag for that much maligned and slighted phenomenon – the international tape music composition competition.

Hi[gh]BroW seeks original works of quality and genius. Certain rigorous conditions must be met for works to be considered to be of suitable quality, depth and humanity to be considered for the grand prize:

Duration: no longer than 10 seconds

Text: All works must use the set text “Big Ears from Sonic Arts Network”. Any other material included is at the composer’s discretion.

The winning work will be extensively broadcast during Sonic Arts Network’s prestigious Big Ears show on Resonance FM (Every Monday. 5pm-6.30pm. 104.4FM. Web streaming at

In addition the triumphant composer will be honoured in a live telephone ceremony held during the show. A generous prize of 10 British pounds will also be awarded to the victorious artist.

Works must be emailed in mp3 format to with the name, address and contact phone number of the composer included. The subject title should read Hi[gh]BroW.

The deadline for submissions is the 22 November 2020 with the announcement of the jury decision being made live on air on the 29 November during the last ever Big Ears show.

We eagerly anticipate your artistic responses.

The Sonic Arts Network Team

SICMF 2005: Call For Works
Korean Electro-Acoustic Music Society is having The 12th Seoul International Computer Music Festival. The Festival provides electro-acoustic music works.

1. tape music
2. electro-acoustic music with instruments (up to 8 players)
3. live electro-acoustic music
4. audio-visual media art

Rules & Regulations
1. All composition have to be composed after 2002 and should be less than 20 minutes long.
2. Scores should accompany piece that require performers. The number of performers is limited to 8 persons.
3. For performances requiring specific traditional instruments or special instruments, composers are responsible for providing performers on location.
4. Channels for audio playback is limited to 8 channels. ADAT & DA-88 will be provided.
5. Detailed information regarding live electro-acoustic music pieces such as equipment, hardware, software etc. should be included with submission.
6. Composers must attach a short biography & program note for their composition (approx. 150 words).

Media Submit Formats
1. All composition except audio-visual works should be submitted via CD, DAT, ADAT, or DA-88 format.
2. Audio-visual works should be submitted 6mm DV, VHS(NTSC or PAL), SVHS(NTSC or PAL) or DVD Disc.

Submission must be postmarked no later than March 2, 2005.

Computer Music Studio (4th floor)
(Korean Electro-Acoustic Music Society)
The Korean National University of Arts
1753, Seocho-dong, Seocho-gu,
Seoul 137-070, Korea
(Tel: 82-2-520-8106)

For Further Information:

Doojin Ahn, President

Call for Audio Submissions

Linux Open Source Sound CD (L.O.S.S.)
[Planned release date - April 2005]
Deadline for submissions: 07-Jan-05

Access Space, Sheffield's lowtech digital arts organisation, is currently calling for submissions for a CD of audio produced with open source software, and the Linux operating system.

There is no specific theme for the curated works, as the concept behind the project is freedom of all elements of music manufacture, encapsulating style, production software and distribution techniques. We hope to receive submissions covering a broad and eclectic range of styles, to represent the dynamic nature of contemporary open source audio culture. Therefore, contributions are invited from musicians of all types, programmers, sound artists or artists who use sound.

The LOSS CD is to be released under a Creative Commons 'Sampling Plus' license, so as well as being produced with free software, the CD will also extend the ethos of the open source movement into its method of distribution. For more information about this license, please visit

Please do not submit tracks if you are not willing to release your work in this manner.

The LOSS project will develop not only through the CD release, but also through a website, aimed at being an ongoing portal for producers of open source music to showcase their work. This will also offer the works for redistribution under the Creative Commons licensing mentioned above. This website will be online later in the year at

How to submit your proposal:

[A maximum of 2 tracks per artist, each between 20 seconds and 8 minutes in length.]

Send a DATA CD containing the following files:
- Your audio track(s) in .wav format, 16bit, 44.1khz in either mono or stereo.
- A text document stating your name, contact details (email and mailing address), track title, track length, the software and operating system used for producing the track, and a declaration that your track does not infringe any copyrights or use any unlicensed material.
- An optional screenshot (in .jpg or .png format) of your software setup - which may be used for artwork purposes.

For more information, or to mail your submission:

Linux Open Source Sound CD
Access Space
1a Sidney Street
S1 4RG
0114 2495522

Access Space is UK registered charity no: 1103837

Call for papers

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

Philippe DEPALLE (McGill University)
Leigh LANDY (MTI  – De Montfort University)
Stephen McADAMS (CIRMMT/ McGill University)
Rosemary MOUNTAIN (Hexagram/Concordia)
Marcelo M. WANDERLEY (CIRMMT/ McGill University)

Time and place: 19-22 October, 2005 – Montreal, Quebec, Canada
The EMS conference is organized every two years through the initiative of the Electroacoustic Music Studies Network, an international team which aims to encourage reflection on the better understanding of electroacoustic music and its genesis, appearance and development over the span of a century.  The organizers are all engaged in the key areas of debate and actively seeking the development of solutions.
The first conference, in October 2003, was a result of the initiatives of De Montfort University (UK),  the University of Paris-Sorbonne (France), and INA/GRM (France).   It took place at the Georges-Pompidou Centre in Paris, within the auspices of IRCAM’s Résonances 2003 festival.  Selected papers were published in issue 9/1 of Organised Sound.  

Organization of the EMS-05 conference
Concordia University (Canada)
De Montfort University (G-B)
Electronic Music Foundation (USA)
INA/GRM (France)
McGill University and CIRMMT (Canada)
Université de Montréal (Canada)
Université de Paris-Sorbonne (France)
Electroacoustic Music Studies Network
MTI (Leigh Landy, ElectroAcoustic Resource Site, MTI Research Group, De Montfort University)
INA/GRM (Daniel Teruggi)
MINT (Marc Battier, Musicologie, informatique et nouvelles technologies, OMF), Université de Paris-Sorbonne

The special theme of EMS-05 is:
Electroacoustic Music Studies – Sound in Multimedia Contexts

From the advent of the first electric instruments, the phonograph, radio, telephone, and subsequent electronic and digital inventions, the approaches to technologies relevant to the art of sound have been limited only by the imagination of the musician.  In recent years, there seems to have been a proliferation of studies relating to music incorporating these technologies.  However, the investigation of such a varied musical repertoire raises a number of issues that the EMS conferences wish to examine. The themes of the conference therefore emphasize questions of resources, discourse, and analytical tools relevant to electroacoustic musics.  
1) Sources and resources
- What types of materials are being or should be documented?
- How does one create, expand, preserve and offer access to collections?  
- What opportunities exist for exchange and collaboration?
- How can we help make the electroacoustic music repertoire more accessible?
2)  Discourse / analysis of electroacoustic musics
- What types of discourse are relevant to electroacoustic works?
- Which forms of representation and which approaches to analysis are useful?
 - Which analytical methods are currently being developed?
- How can one adapt existent analytical methods of music to elec?troacoustic works, many of which involve no prescriptive notation?
- How can we further develop the field of study of electroacoustic musics?
3) Analytical tools
- How are analytical tools being produced and disseminated in the community?
- What means are available for communicating the sonic form through symbolic and graphic representations?
- Does the study of electroacoustic musics require specifically-designed tools or can it take advantage of methods conceived for other musics?

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

Format for presentations:

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

Proposals for poster sessions are also invited; selected posters will be presented in the conference area at McGill University.  The deadline for poster proposal submissions is the same as that for paper submissions.
19 October, 2005 – Opening of EMS-05 at the University of Montreal
20-22 October, 2005 – Conference sessions (McGill University) and concerts (Concordia University)

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

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

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

EMS-05 Website

Live Algorithms for Music Research Network

LAM is a new EPSRC funded Culture and Creativity research network. We are establishing a community of performers, composers, engineers and scientists whose aim is the development of artificial, but autonomous, musical collaborators. LAM believes that such a machine, able to interact creatively with musicians in real-time, and in any context, will have fascinating artistic potential, and could form the basis of the next generation of computer music applications.

Some research topics that have been outlined are:
Novel patterning algorithms from non-musical fields (e.g. evolutionary computation, a-life, swarm intelligence, chaos, dynamic networks, cellular automata, neural networks and machineconsciousness), Real-time music informatics, Models of creative interactivity and improvisation, Musician-computer interfaces and performativity.

Membership already includes prominent musicians and representatives from many of the above fields.New members/institutions are welcome to join and participate in our activities.

First Meeting 13th-14th Dec 2004, Goldsmiths College, London UK Programme: MARCEL mediated panel with US computer music luminaries, presentations on current research projects from LAM members, inter-disciplinary forum, practitioners’ experience of computer music, composers’ forum.

First Concert 14th Dec 2004, 19.30hrs, Recital Room, Goldsmiths College, London UK. An evening of improvisations with humans and their machines featuring John Bowers, Neil Hyde, Jonathon Impett, Sebastian Lexer, Eduardo Miranda, Chris Redgate, Roger Redgate, John Tilbury, Michael Young, The Swarm Granulator and many others.


LAM website:

Call for Participation ICMC 2005
Free Sound International Computer Music Conference
September 5-9, 2005. Barcelona, Spain


Music, video, and installations -- February 5, 2021
Papers, posters, and demonstrations -- March 5, 2021
Panels, workshops and special events -- April 5th, 2005
Exhibitors -- June 5th, 2005


The Phonos Foundation, the Pompeu Fabra University of Barcelona, and the Higher School of Music of Catalonia in conjunction with the International Computer Music Association, is proud to announce ICMC 2005. The conference will take place in Barcelona, Spain, from the 5th to 9th of September 2005, with pre-conference workshops on September 1st and 2nd.

ICMC is the pre-eminent annual gathering of computer music practitioners from around the world. Its unique interleaving of professional paper presentations and concerts of new computer music compositions creates a vital synthesis of science, technology, and the art of music.

By choosing 'free sound' as this year's leitmotif, we aim to emphasise the idea of freeing sound from its current aesthetic, technical and legal confines. We wish to promote an open discussion on the extent to which sound is considered a community asset - an asset that belongs to society and cannot be privatised. Thus, we encourage contributions that emphasise these and related topics.

We invite original contributions in all areas of the computer music field in a number of formats. However, we are also open to any proposal, and encourage all submissions, including those that do not fit the categories below.

We issue the following calls:

* Call for music, video, and installations (deadline February 5, 2021)

We invite submissions of electroacoustic music, video, and installation works that reflect the diversity of the field. Opportunities exist to combine digital resources with a variety of instrumental ensembles. For further details visit

* Call for papers, posters, and demonstrations (deadline March 5, 2021)

We invite submissions for papers, posters, and demonstrations examining the aesthetic, compositional, educational, musicological, scientific, or technological aspects of computer music and digital audio. For further information visit

* Call for panels, workshops and special events (deadline April 5th, 2005)

We invite proposals for panel sessions, workshops and special events, especially those with relevance to the conference theme of 'free sound'.

* Call for exhibitors (deadline June 5th, 2005)

The conference will provide a forum for the world's leading music technology companies to showcase their latest product information and for schools and institutions to highlight their educational programs. We invite submissions from interested parties.

To promote the idea of 'free sound', the organisers of ICMC 2005 are setting up the Free Sound Project, a website dedicated to the sharing and usage of copyleft [1] sounds. Thus, we are making a special call for copyleft sounds with no specific deadline. For more information, visit in the near future.

For detailed information on the conference, and submission formats, visit

To keep up to date with all of the latest news and information about ICMC 2005 please subscribe to our mailing list by visiting...

Call for PAPERS
The Leonardo Electronic Almanac

The Leonardo Electronic Almanac is inviting papers and artworks that showcase Multimedia Performances. This category includes works which span a range of practices, which challenge the way performance has heretofore been defined and examines the ways in which new technologies have opened up the meaning and practice of performance. We expect that performance includes a live component, be it on line, in an interactive installation, or on stage.

LEA encourages international artists / academics / researchers / students to submit their proposals for consideration. We particularly encourage young authors and contributors from outside North America and Europe to send proposals for articles/gallery/artists statements (if applicable).

Expressions of interest and outline should include:
- A brief description of proposed text (100 – 300 words)
- A brief author biography
- Any related URLs
- Contact details

In the subject heading of the email message, please use “Name of Artist/Project Title: LEA MultiMedia Performance – Date Submitted”. Please cut and paste all text into body of email (without attachments).

Deadline for expressions of interest: 10 December 2020

Deadline for proposals: 15 February 2021

Call for participation RAM7
Models of Collaboration. Deadline 15  January

Hosted by Minsk Centre for Innovative Practice in collaboration with CRAC and RAM-Network

RAM7 - Models of Collaboration will take place in Minsk 5-9 March 2005. RAM7 will play the role of temporary multi-disciplinary platform where local and global, hidden and evident, main stream and marginal aspects of New Media culture will meet. The aim of this workshop is to stimulate the process of active learning, exchange of ideas, information and energy between «hidden place» and Network Universe. The starting points are: to provide an opportunity for independent researchers and practitioners to explore current local problems, and initiatives;  to learn the international experience for modifying existing situation by analysing different models of multidisciplinary collaboration. The workshop will focus on studying examples of collaboration models, and will pay more intensive attention on topics related to network based/self-organized educational attempts and art & science collaboration.

During RAM7 workshop we plan to test and use mobile phone technologies, internet-works and more. Presentations and theory lectures will be open for public. A program of tutorials will cover topics: working group for Anti-University development (self-organized educational attempts); working group for investigation of art & science collaboration; working group, focusing on experiments in collective authorship.

We need your help and participation. We are looking for internationally recognized experienced experts willing to share experiences in the next themes:

* Anti-Universities. Self-organized Educational Attempts
* Art and Science. Organizations, projects, strategies.
* Open source, Social Networking Software
* Theory of collaboration
* Collective authorship- interactive art forms that focus on
relationships between participants.

The participants will have to pay their own travel and accommodation.

Please email to

Rock’s Role (After Ryoanji)

Art in General

‘Rock’s Role (After Ryoanji)’ is a cd document of an exhibition presented earlier in 2004 by New York-based organization ‘Art in General’ and compiled by artist and composer Ron Kuivila. It melds seventeen responses to Cage’s series of works entitled ‘Ryoanji’, after the Japanese Zen rock garden that so captivated Cage.  Following Cage’s classification of percussion and glissandi, fifteen of these responses are ‘rocks’, continuous elements that overlap freely, while two become ‘sand’, discrete articulations that run successively throughout the time span of the work. Taking ‘Ryoanji’ as a manifestation of Cage’s interest in Buddhism, Kuivila cites the phrase ‘multicentredness and interpenetration’ as a springboard from which to delve into the influential web that surrounds Cage.

The clack of billiard balls creates a porous canvas through and around which a variety of sounds interact and dissolve. The listener is encouraged to engage in chance operations with the assistance of ‘shuffle’ mode. Whispered sound breathes and expands this imagined space. Here resonances from the gallery space itself are lost, but intimacy is gained. Each fresh ‘shuffle’ offers a new route by which to approach this object of contemplation.

The initial call for works states that ‘the only requirement is that contributions be able to co-exist with any other sounds in the exhibition’. Transformation-based models of composition are sidestepped; individuality and simultaneity become the hallmarks of this soundscape. Multilayered textures shift, creating unexpected contours and horizons, while moments of near silence evoke the sparsity of ‘Ryoanji’s’ landscape. There is something fundamentally reassuring to be found in such a plethora of styles intermingling with such grace.

“What I think would be ideal would be a situation in which no one told anyone what to do and it all turned out perfectly well anyway.” (Cage)

There is a sense of ‘play’ at work, of accidental relationships springing from passing glances, and dance-like gestures arising as the many sounding elements meet and greet. From guitar hum to sine wave squeaks and bursts of noise, the synthetic melds with found sound and environmental mutters. Sublime drones become a bed from which lightly articulated gestures drift with ease. The buzz of cities reminds us that sound cannot be contained.

There is no underlying thrust of ego(s) at the helm. Declarations are not made, the authors never ascribed to their own tracks. You are free to listen ‘in the moment’, not progressing but absorbing as streams of information brush past one another. Wear an acousmatic hat and you will find a sound world with depth, variety, intensity and humility. Nothing is overstated; each listening reiterates awareness over understanding.

Helena Gough is a Birmingham-based sound artist.