EXPO 966: THE ANNUAL SAN EXPOSITION
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.
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.
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 firstname.lastname@example.org and clearly labelled hardcopy of examples of work to be sent to:
Sonic Arts Network
The Jerwood Space
171 Union St
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 email@example.com and clearly labelled hardcopy examples of work to be sent to:
Expo 966 Commissions
Sonic Arts Network
The Jerwood Space
171 Union St
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 www.resonancefm.com)
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 firstname.lastname@example.org 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
For Further Information: email@example.com
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 http://creativecommons.org.
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 http://www.access-space.org/loss.
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 is UK registered charity no: 1103837
1a Sidney Street
Call for papers
EMS05 - Electroacoustic Music Studies. A century of innovation involving sound and technology - Resources, Discourse, Analytical Tools
Marc BATTIER (MINT-OMF)
Joel CHADABE (EMF)
Philippe DEPALLE (McGill University)
Leigh LANDY (MTI – De Montfort University)
Stephen McADAMS (CIRMMT/ McGill University)
Rosemary MOUNTAIN (Hexagram/Concordia)
Philippe DEPALLE (CIRMMT)
Jean PICHE (CCIRMT/UdeM)
Daniel TERUGGI (INA/GRM)
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)
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:
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: firstname.lastname@example.org <mailto:email@example.com> . 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.
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: http://www.livealgorithms.org
Call for Participation ICMC 2005
International Computer Music Conference
September 5-9, 2005. Barcelona, Spain
SUMMARY OF DEADLINES
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
CALL FOR PARTICIPATION
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
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 http://www.icmc2005.org/index.php?selectedPage=73
* 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  sounds. Thus, we are making a special call for copyleft sounds
with no specific deadline. For more information, visit http://www.icmc2005.org/ 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
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
During RAM7 workshop we plan to test and use mobile phone technologies,
internet-works and more. Presentations and theory lectures will be open
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
* 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 firstname.lastname@example.org