News from the Sonic Arts Network

Expo Manchester

This is the last Diffusion before Sonic Arts Network takes to the road and heads upto Manchester the Expo festival.

This year promises to be the biggest and most succesful Expo so far with events going on throughout Manchester and beyond.

Sonic Postcards

Sonic Arts Network's education project, Sonic Postcards, encourages pupils throughout the UK to explore their local sound environments and exchange composed statements from environmental sound or ‘sonic postcards’ with one another.

As part of Expo, composers Pippa Murphy and Ross Dalziel have worked with film and animation artists from Cornerhouse in two local schools, Turton High School Media Arts College and Chatsworth School, to produce sound and film pieces which you can see and hear displayed on the plasma screen in the Cornerhouse foyer throughout the weekend.

For more information please visit

All events over the weekend are completely free and open to all. We look forward to seeing you there.

The next Diffusion will be in three weeks time.

Find more information about Expo here:

What would you do if ... there was no map?

A selection of audio pieces designed for journeys between Expo performance spaces.

Download MP3's here:

Arabic Interview
Favourite Sound
Found Rhythm
Just Round Here Manchester
Picadilly Flutes
Street Voices
Your Journey Today

The files are also available as a podcast:

(You may wish to set you Podcast Aggregator to 'download all' to hear all the pieces. Read more about podcasts here)

Alternatively, a limited number of CDRs are available from Sonic Arts Network members of staff over the weekend.

These pieces are a culmination of work with college students from Rwanda, Yemen, Iran and Iraq created with Duncan Chapman. They explore the journeys we make and how they affect us.

‘What would you do if...?’ is an exhibition about uncertainty, fear and hope, created by leading Northwest artists and local people. The exhibition will be full of fun, thoughtful opportunities to physically and mentally challenge yourself and your family, with mystery spaces to explore, a puppet show to play with, as well as music and sound installations, artworks and photography. There will also be an exciting events programme of performance, music, art and food events to accompany the exhibition.

The show also includes the sound installation ‘What if...the voices were only memories?’ by Iain Armstrong.

Important Notice: Members Meeting

All members are invited to discuss the proposed merger of Sonic Arts Network with five other national organisations. The meeting will be an opportunity for members to be updated on the idea and to join a discussion on its potential merits or otherwise.

A decision on whether to go ahead with the merger must be taken by the Board and members of Sonic Arts Network in the coming months. It is the most important decision that Sonic Arts Network is likely to make in its history, so we urge all those able to join us in Manchester to do so.

Members meeting

Sunday 25th June - 10am to 11.30am
Premier Travel Inn Manchester City Centre (GMEX)
7-11 Lower Mosley Street
Greater Manchester
M2 3DW

For more information on the proposed merger please see the draft business plan here.


16 June - 27 July
UK wide tour

A collaboration in sound and light by Alex Bradley and Charles Poulet. Using ambisonics and large-scale planes of shimmering LED light, the audience sits, stands or lies as the space around them is rewritten with flickering vistas, floating panoramas and tactile surfaces. The installation will also feature a ‘live ambisonics’ performance on the opening night.

17 June -29 July
Full Circle
Phoenix Gallery, 10 14 Waterloo Pl. Brighton

Exhibition featuring Julie Marsh, Cecilia Jardemar and a sound installation by Charlotte White. Based upon a series of statistics ranging from levels of tea consumption in the UK, to numbers of deaths by starvation in Africa, Charlotte White has created a sound installation that presents such information in aural form. Issuing forth from a circle of eight speakers, a cacophony of voices reads out nearly 100 of these "facts", and the resulting effect is created by the random selection of sound samples, triggered at various intervals by a computer.

Resonant Spaces
(tour of performances)

Resonant Spaces sets out to free the sound of some of the most exciting and incredible locations in Scotland. Locations that resonate and echo, or that have fantastic ambient sounds or dense, near endless reverberations. Check out the website to find out where.

23 June
The Space, London E14

ELEVEN will perform a programme including the world premiere of John Palmer s afterglow (for alto flute, piano and electronics) and music by Edwin Roxburgh, Stephen Montague, Matthew Wright, Mayke Nas and 9 other emerging composers.

24 June
Mother of all Parties (summer solstice)
(live & DJ)
Beaconsfield, Vauxhall, London, SE11

MoaP is a twice-yearly benefit event for Beaconsfield that happens in winter and summer. It will also be live on Resonance 104.4fm from 11pm. Featuring, amongst may, Spring Heel Jack, Fallen Leaves, Fairlights, DJ Tendraw & The Gypsies Dog, Howard Jacques and Annie Davey.

25 June
Month Of Sundays
(Live A/V Internet Mixing)
E:vent, 96 Teesdale Street, London E2

Featuring a cross continent A/V performance by Chicago based John Kannenberg mixing in real time with Glenn Bach who will be performing from his home in Long Beach, California. The performance is based on their Two Cities project, which began in 2003 using sounds, photos, objects and data collected on Glenn and John's daily walking commutes to compare and contrast the environments of their respective hometowns. Bring your laptops and media files and collaborate.

8-16 July
9 public concerts during the Stockhausen Courses (concerts)
Sülztalhalle, Kuerten, Germany

In 9 concerts which take place in the Sülztalhalle in Kuerten, 41 Stockhausen works will be performed including 2 world premières and 2 German premières. In all concerts Stockhausen will be the sound projectionist.

8-12 July
Jedburgh Community and Arts Centre, Jedburgh, Scotland

If you whistle to a songbird it often sings back. If you play birdsong to young children they often try to imitate the song. Tweet is a 4 channel sonic exploration of these innocent and playful dialogues. James Wyness presents a new 4 channel sound installation for birdsong and children's voices.

20 July
Rother and Moebius
ICA, The Mall, London

Krautrock pioneers with a history littered with names such as Kraftwerk, Kluster, Neu! and Harmonia play live.

Until 20 July
Lully, Lulla
Herbert Art Gallery, Coventry

The Coventry Carol tells of grieving mothers singing to their children who are about to be slaughtered by Herod. The installation allows members of the public to 'play' the carol by using the main Gallery staircase; the arrangement is affected by the number of people on the stairs, the direction they travel and how fast they move. Thematically the work draws parallels between mothers grieving for their sons in biblical times, in the 1940s when Coventry was bombed and now with the wars in Iraq and Afghanistan.

20-23 July
Futuresonic 2006
Various, Manchester

The 2006 festival takes place over three days traversing music and the arts, involving multiple spaces. It takes in headline gigs, breaks musical acts, maps the city and ships in artists and musicians from around the World.

24-30 July
SuperCollider Symposium
Music Department, University of Birmingham

Presentations, concerts, and composer/developer meetings and both beginner and advanced courses in SuperCollider during the week, with James McCartney as keynote speaker and a host of SuperCollider gurus, composers and adventurers.


Internship: Burntprogress Music Archive Project

Burntprogress is an artist-led production company striving to give an insight into the consciousness of creative individuals and to document a dynamic and evolving world of electronic music-makers who explore their creativity through technology.

CDR is a platform for new electronic music works. As a ground-breaking culture generator, CDR is set to educate and engage thousands of new music fans and develop the work and careers of a growing community of contemporary music-makers.

We have an internship position for a person, with a passion for new contemporary electronic music, to assist the management and administer the update of the burntprogress music archive.

The position involves:

Music Classification
ID tagging
Artists' liaison
General Office administration

Person Specifications:

Good all round level of education, preferably to degree level
Excellent administrative abilities
Keen for figures and data
Apple Macintosh & general office skills
Good written English
Good communication skills
Flexible and Proactive
Can work independently, to a brief and without supervision

Closing date: 23rd June
Interviews: 26th June
Starting date: 1st July

The placement is for a three months period
The placement is based in our East London Office
The placement is unpaid, we can offer travel allowance

To apply please send a CV and Cover Letter to

Pure Data Summer School 2006


17 - 28 July 2020
Monday - Friday, 10:30 - 4:30pm
£100 for 10 days workshop

A two week boot camp. Now accepting applications.

Pure Data is a free and open source real-time graphical programming environment used by artists to create a range of visual arts, theatre, dance, audio, installation, performance and media art works.

Pure Data is ideal for those looking to integrate technology into their work for the first time, or advanced media artists looking to explore new tools and new ways to combine them in a unified environment. It is easy to use Pure Data to create interactive environments, link animations and sound, control hardware and electronics, stream audio, generate real time visuals and develop interfaces for other programs.

In this intensive two week course, participants will learn Pure Data from scratch and explore in detail some of its most exciting extensions. Using the Pure:Dyne creative GNU/Linux operating system, participants will discover real time sound design, audiovisual techniques, physical modelling with Gem and PmPD/MSD, how to extend PD into hardware and electronics using CAT/purrr and generative 2D/3D visuals using Packet Forth.


FEE: £100 for 10 days workshop

BOOKING: Please email with a single paragraph expression of interest that includes your artistic background and interest in the course. Questions by telephone can be directed to +44 (0) 208 525 4339.

VENUE: SPACE Media Arts 129-131 Mare Street, Hackney, London E8 3RH, phone: +44 (0) 208 525 4330 (Bus: 254, 253 and 106 from Bethnal Green, 55 from Old Street - Tube: Bethnal Green - Train: Hackney Central Silverlink). SPACE Media Arts is wheelchair accessible. If you have specific access requirements, please contact us in advance.


Lectureship in Digital Music

Queen Mary University of London
Department of Electronic Engineering

The Centre for Digital Music at Queen Mary, University of London is one of the world's leading research teams specializing in Music Informatics, and DSP for Music and Audio. We regularly work with leading UK researchers and with teams across Europe, in the USA and in Japan, and host international conferences in the area. We are pleased to offer the opportunity to join the team as a Lecturer.

If appointed you will contribute specialized modules to the department's Masters programmes in Digital Signal Processing and Digital Music Processing, as well as new undergraduate degrees in Audio Systems Engineering and Digital Audio & Music Systems Engineering. You will also be expected to contribute to the Center's research, bringing your own unique skills to the exciting topics we specialize in - see for more details of our current research. Looking forward, we expect to expand activities in Internet Audio, 3D sound, Haptic and novel interfaces, Performance and Real-time processing.

Fuller details of the position and person specification, together with application form are available from

Informal enquiries about this post are encouraged and may be made to Professor Mark Sandler preferably by telephone (+44 (0)20 7882 7680) or by email (

Completed application forms including the names and addresses of three referees, a CV and publications list, should be returned to Ms Sharon Cording, Department of Electronic Engineering, Queen Mary, University of London, Mile End Road, London E1 4NS by 15th July 2006.


Clark Bursary - 6th UK Digital Art Award

Watershed Media Centre and partners including Situations at the University of the West of England, are pleased to announce the Clark Bursary - 6th UK Digital Art Award. Initiated in 1998, the Bursary provides opportunities for creative development in digital media through a residency programme, and has built a reputation for innovation, development and quality.

This year's award of £17,500 is the largest to date and will enable an exceptional UK artist working primarily in digital media to develop their career and proposed idea/s through a supported residency at Watershed. For full guidelines and to download an application form, please visit

The Clark Bursary is funded by J A Clark Charitable Trust, Watershed, and Arts Council England South West. In association with the University of the West of England, Bristol.

The New Sound of Music Summer course in computer-assisted composition in Vienna

Instructor: Bruno Liberda (Electronic music professor at the University of Music and Performing Arts in Vienna)
July 16 - July 25, 2020
August 27 - September 5, 2020
Tuition: 950 Euro
Wiener Klangwerkstatt Kettenbrückengasse 23/3/7
Vienna -- Austria

This 10 day computer-assisted composition course offers classes and individual studio time in the "Wiener Klangwerkstatt" exploring the multidimensional space of sound and its use as the primary material of composition. In between new sonic experiences, you will have guided tours to sites in and around Vienna historically connected to the first and second Viennese school.

Since it will be a small group (max. 6 students), you will benefit from lively Q&A situations. In your 8 hours of assisted individual studio time, you will be coached by Bruno Liberda working on a Kyma Sound Design Workstation. There will also be a recording and mastering session in the Soundstudio of Wiener Festwochen. Announcing a new Commissioning Award for Colourscape Music Festival Eye Music Trust announces a new Commissioning Award for the annual Colourscape Music Festival on Clapham Common.

The fund will start in 2007. This year we are previewing the commissioning process with two test pieces.

The successful commissioning applications will be those that create a new work for Colourscape linking colour, sound and space. It may be a finished piece; a collaboration; an installation; music-theatre; electroacoustic; or other new forms. A key part of this unique award will be that all applicants must visit our Colourscape events prior to their submission to gain an insight into the concept.

We strongly recommend that any potential applicants for 2007 visit 2006 Colourscape events in Rotherham, Croydon, Cologne or Clapham Common (details on our website: We will not consider applicants that have no working knowledge of the Colourscape concept.

We are featuring the 2005 test work "Lens" by Ansuman Biswas at the Rotherham Colourscape Festival in Clifton Park on June 25th. Lens is part installation; part music-theatre; part electroacoustic. 36 independent channels of loudspeakers sound throughout Colourscape - a choir (white-robed and blindfolded) are led through the structure by sound alone, articulating the music on the 36 loudspeakers.

We feature a second test piece by Stephen Montague at the Clapham Common Colourscape Festival on September 24th.

Look at our website: for details of events. Full details of the Rawsthorn Award to be announced later in the year.


Max/MSP Summer Courses

Goldsmiths College Electronic Music Studios is pleased to announce its annual summer programme of MaxMSP courses.

Our MaxMSP courses have, since 2001, attracted participants from across the UK, Europe, North & South America, the Far East and Australia, including students, educators, mainstream musicians, composers/sound artists and performers who utilise live electronics.

Course dates:

Introductory Level Max/MSP
Tutor: Tim Ward
Course #1 : Sat. 15th, Sun. 16th, Sat. 22nd & Sun. 23rd July
Course #2 : Tuesday 18th - Friday 21st July

Intermediate Level Max/MSP
Tutor: Sebastian Lexer
Course #1 : Tuesday 18th - Friday 21st July
Course #2 : Tuesday 25th - Friday 28th July

For further information, including cost, accommodation information and to download a booking form, please go to

CCMIX: 8-Month Course in Electronic Music

The Centre de Creation Musicale Iannis Xenakis (CCMIX) announces its annual 8-Month Course in Electronic Music. The course will take place from October 2006 - May 2007 in Paris, France. Faculty and guest lecturers include: Carla Scaletti, Jean-Claude Risset, Gerard Pape, Trevor Wishart, Sinan Bokesoy, Makis Solomos, William Setharis, Curtis Roads, Agostino di Scipio, Julien Bilodeau and Yiorgos Vassilandonakis. This course explores a compositional world where sound itself is the primary material. The nature of sound, how it is perceived, how it may be transformed in differing time scales, and what new forms result are key subjects. In keeping with Xenakis' belief that interdisciplinary understanding can provide rich, new avenues for musical creativity, our course stresses the importance of interdisciplinary learning and interaction. In addition to lectures, conferences and discussions, a variety of computer music tools will be presented in classes and workshops. Participants will receive 9 hours individual studio time weekly; assistance is provided when needed. Interested participants may pursue creative work in the CCMIX Sound / Visuals Atelier. Participants' work will be premiered and produced in concert by CCMIX.

More information is available by email from Randall Neal,

MRes in Sonic Art

New MRes in Sonic Art - at Hull University, Scarborough Campus, UK

(Scholarships available)

Course details:

Studio Facilities:

For enquiries about Scholarships - please contact Tim Howle

Call for Proposals Expanding the Space: Enlarging the Frontiers of the Earth
Octubre Centre de Cultura Contemporania
3-6 October 2006, Valencia, Spain

The Expanding the Space conference is organized by the Octubre Centre de Cultura Contemporania, in collaboration with Leonardo/OLATS, and the International Academy of Astronautics, to coincide with the 57th International Astronautical Congress that will take place in Valencia, Spain in October 2006.

Expanding the Space is conceived as an open forum for individuals, connoisseur or not, to meet and to learn about the latest scientific issues, with the intention of making them accessible to the general public. The conference will provide a singular location for those scientists interested in the intersection of science and art, to gather, display and catalyze all the artistic works born under this sign and inspired by space.

The topics that will be addressed are:

1.Humankind in front of the mirror. A perspective of our own planet thanks to space missions. Cultural impact.
2. Climatic change. Its effects seen from outside.
3. Microgravity: the sensory experience of weightlessness.
4. Colonialism vs. exploration. Are space missions a new kind of colonialism?
5. The control of terrestrial biologics in the preparation for space missions.

Expanding the Space encourages people from all over the world to take part either in the conference and/or video exhibition.

The proposal must relate to one of the five defined topics: humankind in front of the mirror, climatic change, microgravity, colonialism vs. exploration and the control of terrestrial biologics in the preparation for space missions.

Proposals will be examined and selected by an Advisory Committee. This committee will be formed by experts including: Fernando J. Ballesteros, from the Astronomical Observatory of the University of Valencia, Martí Domínguez, editor of the magazine Mètode, Julien Knebusch, from Leonardo/OLATS, Seth Shostak, astrobiologist from the SETI Institute, Bernard Foing, scientist-in-chief of the ESA, Salomé Cuesta from the Laboratorio de la Luz of the Polytechnic University of Valencia, Jean-Luc Soret, curator of the @rt Outsiders International Festival and Laura Borràs, from the Universitat Oberta de Catalunya and the members of the organizing committee: Josep Perello, physicist, University of Barcelona; Emili Paya, OCCC; Annick Bureaud, Leonardo/OLATS and Roger Malina, astronomer and Executive Editor of Leonardo journal.

To submit your proposal for the conference and/or the audiovisual exhibition, please fill the online form at <>

Deadline for proposals: June 30, 2020
Notification of acceptance : First week of July

Deadline for papers : first day of the conference (October 3, 2020) The papers will be published on the Leonardo/OLATS web site <>.

Technical Equipment: The organization will provide any technical equipment required such as desktop and laptop computers, screens, DVD players, slide projectors, etc.

Travel and accommodation expenses are the responsibility of each participant.

Call for Proposals Artists for The Wormhole Saloon IV at The Whitechapel Gallery (London)

The Wormhole Saloon IV is happening at the Whitechapel Art Gallery on the 1st of September 2006. It is a multidisciplinary art event and is looking to present:

- Surround sound work (4 channel audio)
- Installations (Not photographic or paintings)
- Live performance/soundtrack to film/visuals
- Video art
- or ... surprise with an idea

Deadline is the 24th of July 2006.

Send proposals via email to Joel Cahen

or post mateial to

Joel Cahen
The Wormhole Saloon IV,
211 Dalston Lane,
London E8 1HL

Turn up at The Wormhole Saloon III on this friday 23rd June 7pm - 11pm to get an idea of the space and to see what the event is like.

more info on

elektraMusic call for works CD 2006

For the second year, elektraMusic will publish at the end of the year a new CD (electroacoustic music volume 02). Composers are invited to submit one or more work to be included in this compilation. (see "rules" below).

elektraMusic will also publish at the same time a new book (elektramusic issue 02...indeed) and is also looking for texts or articles about experimental/electroacoustic musics or other "arts subjets" (music and video, dance and music). people who want submit a text are invited to contact us by email at:

elektramusic CD submission :

- Participation in this project is open to composers of any nationality, aged from 18 minimum at the time of submission.
- The composers can submit one, two or three (max.) work(s).
- Works in collaboration (two composers or more) are also accepted.
- Submitted works mustn't have been awarded yet (music prize, competition, grant, commission, recorded on commercial CD,...).
- Submitted works can be electroacoustic only music (music "for tape", acousmatic music,...), mixed music (music for instrument(s) and electronic), or electroacoustic music for dance, video, multimedia...

Composers willing to participate are asked to :

- submit their music on an audio CD or DVD (multitrack works must be submitted in stereophonic version). The CD/DVD will be easily identified and will include the composer's first name and name as well as the exact title and its duration.
- print, fill in and sign the submission form (download here <> ).
- include a short composer's biography and program notes.
- Please send your submission by snail mail before 1 October 2020

Spatialization competition "space of sound" Interpretation of acousmatic works

Recorded work composed in studio, projected over loudspeakers in concert, without live intervention of other sound sources.

The interpretation of acousmatic works through spatialization involves sound-projection and diffusion through a reduced system of loudspeakers deployed within a specific space. The "musiques & recherches" acousmonium consists of 60 loudspeakers and an analog console that can send out up to 40 channels. In this competition, spatialization is done "manually", that is, free of any digital-technology automated storing and programming spatialization system. The interpreters themselves control and play the console during the competition, so, their presence is absolutely essential.

The competition is open to the public and will take place from October 20 to 22, 2006 as part of the 13rd international acousmatic festival "the Space of Sound" at the marni theatre in brussels.

The registration form and other required documents as indicated in the competition guidelines must be sent to "musiques & recherches" by mail, postmarked before July 9, 2006.

There is no registration fee.

Each candidate will be required to present four works as follows:

- one imposed piece
- two works selected the day before the performance, from the list of "classical repertory" which candidates will be sent upon completion of registration
- one work of the candidates' choice (personal compositions are not

Maximum duration of each work is 15 minutes. Prizes are awarded on the last day of the festival, October 22, 2004. Competition guidelines and registration form are available upon request from the office of "musiques & recherches" (telephone:: +32.2.354.43.68. Email: or can be downloaded from the "musiques & recherches" website:

Competition guidelines

1. This competition is open to anyone who has enrolled by post, postmarked before July 9, 2006. There is no enrollment fee. Participants must send in the fully-completed application form attached below, and include a personal photo, the title of the piece of the participant's choice, the composer's name, as well as notes about the piece.

2. Following registration, participants will receive the list of "classical" works from which will be drawn at random those they will be required to perform. They will also receive a compulsory piece determined by the members of the pre-selection jury of the "metamorphoses" composition competition.

Each participant must send a graphic transcription of the compulsory piece to "musiques & recherches", postmarked no later than September 15, 2006. The quality of this transcription will be taken into serious consideration in the pre-selection process.

3. From October 20 to 22, 2006, a maximum of 8 finalists will present the following:

- two works selected at random from the "classical repertory" list
- a compulsory piece to be determined by the members of the "métamorphoses" competition's pre-selection jury
- a work of the canditates' choice

4. Candidates are expected to prepare all works from the "classical repertory" list. The title of the works drawn at random from this list will be communicated to candidates the day before their performance.

5. The maximum time allotted to the performance of each work is 15 minutes. Rehearsal time will be arranged for each participant, who will also have access to a stereo listening station.

6. The competition is open to the public. It forms part of the 13rd international acousmatic festival "the space of sound" and will take place from October 20 to 22, 2006, in Brussels.

7. Prizes will be awarded at the end of the festival, October 22, 2020

8. The jury's decisions are final and without appeal.

9. The organizer cannot cover participants' travel and / or accomodation expenses, but would be pleased to supply accommodation, information upon request.

Participants will have free access to all festival activities.

First prize: 2500 euros
Second prize: a gift certificate for audio equipment, supplied by a sponsor.
"Musiques & Recherches" will offer a candidate of its choice a residency in the form of a performance at a future concert or festival.

Mid-Autumn Harvest Moon Festival / Conference Concordia University
Montreal, Québec, Canada
September 20 - 22, 2006

- Five concert-presentations of multi-channel and special electroacoustic creativity

- 10-channel Butterfly Installation Instrument

- Conference / Paper Sessions / Roundtables: Subject: Curricular Design for Electroacoustic Studies

Preliminary deadline: August 01, 2020

A time of meeting of an ongoing international discussion of matters of greater and lesser importance to the electroacoustic community, focusing on practitioners, thinkers and others.

Papers, presenters and roundtable participants are invited to submit resumés, proposal and statements of interest on the theme of the conference: Curricular Design for Electroacoustic Studies

Electroacoustic Studies is a discipline which encompasses the physical world (metrics) perceptual, psychoacoustic and cultural / creative / critical worlds of sound from a loudspeaker.

Education for practitioners in ea requires a core, fundamental knowledge of the entire basis, and an organization of material and ideas found in the more focused sub-disciplinary regions.

Roundtables / panel discussions will focus on a number of the following topics:

(1) Training the inner and outer ear; philosophies, materials and methods (coordinator Eldad Tsabary)

(2)What to think about it all; thoughts on aesthetics, culture and criticism within the curriculum (coordinator Kathy Kennedy)

(3) Music theory; what kinds and how much, and the integration of theory and practice (tba)

(4) Perception, psychoacoustics and the impact of sound on society; how much does the engineer have to know? (tentative Warren Spicer)

(5) Cross-modal and media applications; visuals, movement, installations, performance art central or secondary (tentative Ian Chuprun)

(6) Technical considerations; standards and norms for facilities and equipment (coordinator Mark Corwin)

(7) Putting it into practice; the junction of practical training and thought (tba)

(8) Exchange and agreement; the next steps of putting it all together
(tentative Kevin Austin)

Technical Demonstrations

A Call for demonstrations of a technical nature on a multi-speaker system in a concert hall situation.

Call for Concert Works

Expanding the Range

- Multi-channel: Multi-channel works from 3.1 to 16.2 are invited for consideration. Preferences will be given to those built around the model of the loudspeaker as a point source , rather than as a matrix mapping .

Three other categories of concert works are also invited:

The Phil specter, back to mono. Pieces in one channel, to be played back through a front-center speaker (1.1)

Git down: pieces for a .1 system, subwoofer only. No frequencies above 110 Hz.

Pianissimo highs (for bats only): Works for 8-channels (point source preferred), duration of under 4 minutes, with no signals below 2 kHz, to be played back pianissimo in the concert hall


Butterfly Installation Instrument: A 10.2 system for installations, live electronics, laptops etc, in an open public space. Unless the composer can supervise, the work should be an autonomous, self-operating system. (Coordinated by Timothy Sutton, Philip Karneef, Joshua Zubot)

Spreading the word, keeping the sounds:

Concerts, discussions and presentations will be webcast (Mark Corwin coordinator), and published in eContact (Yves Gigon and jef chippewa Coordinators)


Concerts: 5:00 and 8:00

Butterfly: every day

Technical presentations (in the hall) mid-late afternoon

Roundtables: morning and early afternoon

Generalized Call for Works -- pages in progress. Audio files in formats from 16/44.1 to 24/96, and mixed / multi-media works. Please include program notes, bio and technical notes in Word-readable format.

Works presented will be webcast and placed on the website

Please be sure to follow the guidelines at and

Bend It Like Beckett-CD Sound Art
Open Submission CD

To commemorate the Samual Beckett Centenary and to coincide with its annual festival, 'Art Trail Sound Works' are producing a CD of soundworks on the theme of Beckett,his life and his works. The CD will be produced on behalf of 'Art Trail Sound Works' by Danny Mc Carthy. It will take the format of invited artists and will also include artists on an open submission basis. The only stipulation is that submissions must be less than one minute in duration. Entry is open to artists from all countries and nationalities and artists may submit more than one entry. Submissions will be accepted on CD only. Entries will not be returned.

Closing date for entries is 14th July 2005.

Entries to
Bend It Like Beckett-CD
Art Trail
Backwater Studios,
Wandesford Quay
Cork Ireland

Further information or

Call For Papers SoundAsArt Conference
Aberdeen, Scotland
November 24th, 25th, and 26th

SoundAsArt: Blurring of the Boundaries

Over the past several years a growing fascination with the emerging art form Sound Art, has become prevalent within arts communities and academia. But what is it, how is it defined, and what is the impact on current practices of composers, artists, and those working in related fields (video, sculpture, architecture etc.)?

The SoundAsArt conference hopes to explore some of these boundaries, blurry though they may be, with the goal not of definition but of exploration. It is a peculiar characteristic of this art form to revel in the blurring of distinctions, the crossing of disciplinary boundaries, and the redefining of practices.

The conference will take place over a three day period and will feature papers/talks, installations, soundwalks, and performances. The entire content of the conference will be documented for release and made available online in pdf/mp3 format.

The conference is presented by the artist group urbanNovember in partnership with the University of Aberdeen, with generous support of the Aberdeen City Council.

Call For Papers (Abstracts)

We welcome papers on the topic of sound art that address questions of origin, exploration of boundaries between related practices, investigations of current practices, and speculation on the future development of sound art. Papers by individuals wishing to present their own work in relation to these issues are also welcome.

Proposals in the form of an abstract (500-1000 words) should be submitted via the conference website at (go to "Abstract Submission" and select "Refereed Abstract and Paper Submission" and "Submit a New Abstract or Paper" no later then July 21st. Please do submit early; you will be able to revisit and change your submission until that date).

All proposals will be peer reviewed and selections will be announced by August 15th. Finished papers will be due by November 1st, submitted in the same manner as the abstract. Papers should be of a length appropriate to a 20 minute presentation (approximately 3000 words). There will be a 10 minute question and answer session after each presentation. Please include a short bio (200 words) and any technical requirements you may have for your presentation. A small sound system, data projector, and docking bay for mac/pc laptops for powerpoint are available.

Please note that only papers that can be presented in person will be accepted. Unfortunately we are not able to provide any financial assistance, although the conference is free for all to attend.

Key Note Speakers include Professor Jonty Harrison and composer/performer Rajesh Mehta. Guest artist include performer Keith Rowe. Others to be confirmed.

The peer review panel includes:

Dr. John Levack Drever
Lecturer in Composition
Goldsmiths College, University of London

Jonty Harrison, BA DPhil (York),
Professor of Composition and Electroacoustic Music
University of Birmingham

Rahma Khazam, MA
Writer, Music journalist

Dr. Fiona Maclaren
Lecturer of Photography
Nottingham Trent University

Rajesh Mehta
Composer, Performer

Dr. Ken Neil
Head of the MFA in Critical Social Art Practice at Gray's School of Art
The Robert Gordon University, Aberdeen

Dr. David Reid
Lecturer in Photography
Nottingham Trent University

Dr. Pete Stollery
Composer and Reader in Electroacoustic Music and Composition
University of Aberdeen

Bill Thompson
Performer, Sound Artist

If you have any questions, please contact

SoundAsArt Conference

Foldback Sound Festival Call for submissions

Curators: Matt Lewis, Tom Richards, Sebastian Lexer
3rd July deadline for all submissions

Foldback will be a three day festival held at Reception Space (Cremer St, Shoreditch. / from the 3rd to the 5th of August 2006 with an affiliated sound show to be held at Meals and SUVs Gallery in Dalston.

The main objectives are to bring together a diverse cross section of sound practitioners to meet, compare notes and present new and existing work in a loosely categorised framework. The event will provide a platform for education, new collaborations and a celebration of many types of sound based creativity.

The Event will be split into five sections as follows:

Thurs 3rd August- Soundtrack First
An evening focusing on the relationship between sound/music and moving image. To include performances and screenings that investigate the dynamic between what we see and what we hear in film and video, looking at soundtracks, foley, music video, broadcasts and more.
Submissions are welcome from musicians, sound artists, visual artists and film makers working in any genre. Proposals might be for works using found material, improvised soundtracks, remixed or re-scored films or films where the soundtrack provides the starting point for the visual content.

Fri 4th August- New Retro Sound Machines
A day of presentations on new musical instruments, with a special focus on instruments in the acoustic or analogue realm. In the age of laptop musicians and Max Patches- there are still inventors and musicians coming up with fresh sounds with no computers necessary. This will be a chance for them to explain and demonstrate their audio wares and compare notes on this under-represented world of musical invention. Submissions welcome.

Sat 5th August- Interface.
A day of seminars, demonstrations and discussion on the theme of audio interfacing. We are looking for new ways of communicating with musical and audio hardware/software. As computers become ever more useful and powerful in the audio world are the means of real time control keeping up? Also where does the human input stop, and the machine become creator? We want people creating new ways of talking to computers in order to create sound.

Sat 5th August- Odd Meter
Submissions invited for contemporary music that is not in common 4/4 time. Either submit your own work or suggestions for other composers/producers This event will be the closing party and contributions will be collated and mixed by DJ Yuri Suzuki

Satellite Projects for the duration of the event.
We would be interested in any stand alone audio work to be affiliated with the festival. This could be installation work, audio walks, web based work or anything else you might deem relevant, impress us! These projects will be promoted as part of the festival.

Submission Guidelines

Please state clearly which part of the festival you are interested in.

Audio CD/DVD/weblink Max 15 minutes and or written proposal max 500 words. Plus CV and brief outline of technical requirements.

Post to: Foldback
FAO Tom Richards
1st Floor
295 297 Haggerston Road
E8 4EN

Email to:

Hazel Clark Prize

The Stockhausen Courses Kuerten are pleased to announce a new prize for the 2007 courses and beyond.

The Hazel Clark Prize will be awarded each year for the best musicological essay or extended writing on a Stockhausen work or works. The prize is valued at 1000 Euros and will be presented during the awards evening at the end of the courses.

This new prize marks the Maestro's desire to recognize excellence in Stockhausen scholarship and to acknowledge the important role academic research into his work has played in promoting the Stockhausen's ouvre internationally.

The Hazel Clark Prize is being entirely funded by the 23project in Los Angeles, California, an endowment/gallery dedicated to the promotion of the Maestro's work in the United States. Tom Clark, director and his brother Robert, a participant in the 2002 courses, are the sponsors. The prize has been named in memory of their grandmother who was a great admirer of the maestro during her lifetime.

Calls for submissions will be handled by the Stockhausen Foundation for Music, Kettenberg15, D-51515 Kuerten, Germany. We encourage all writers, academics and musicologists to submit.

Call for Soundart

SoundLab is looking for sound art works of:
a) experimental character
b) electronic music
c) Voice -sound/music integration
d) and other forms

Theme : "Memoryscapes" based on the subjects of "memory" and "identity"

The submission has to be posted on a webpage for download, please do not send it as an email attachment. Submission format: .mp3

Size: Max 5MB, exceptions possible, but on request.

The authors/artists keep all rights on their submitted works.

Deadline 30 June 2020


Alex Bradley & Charles Poulet

Whiteplane_2 is an installation devised by artists Alex Bradley &  Charles Poulet. Currently showing in Glasgow's Tramway. It is touring later this month and next to Kendal (Brewery Arts Centre, 29 June - 6 July) and Newbury (The Corn Exchange, 21 - 27 July).

Set in Tramway's massive, darkened theatre space, there is a raised dais with its mirror image suspended above. Both the floor and ceiling appear as planes of light, which change gradually or suddenly, suffusing the visitors on the platform entirely in colour. Suddenly everyone is red; now blue.

Visitors stand, sit or move around - when I went the first time I felt like I was on the transporter deck of the USS Enterprise - 30 people stood almost motionless waiting to be beamed up. The next day was quieter - 6 people lay appearing to float in a bath of colour, monochrome, shadowless; others moved around in the half shadows at the periphery, perhaps expecting to see bodies levitate (see the image on the website and flyer!). Most effective are the moments of blackout, and those moments of sudden colour change which, because of the LED technology the artists are using, seem to happen without any perceived transition.

Surrounding the space, there are loudspeakers above and below the level of the platform. Sound for the installation consists of lo-fi drone materials, some brighter textures and occasional bursts of noise, all spatialised, ambisonically, using software devised by acoustic consultants Arup. Like the flat planes of light, the sound is immersive with layers travelling independently through the space.

In addition to the installation, Bradley and Poulet perform live in the space (check venues for details - 2 performances in each). This is a sound and light improvisation by both artists working from their laptops just beyond the edge of the light at either end of the space.  In some ways this was more interesting - having spent half an hour in the space before the performance the installation sequence was becoming familiar (it loops in around 10 minutes with synchronised light and sound) so the unpredictability of the improvisation was welcome. There was also a bigger variety of sonic material, and some of the more delicate sounds really did show off the potential of spatialisation. What was missing, though, was the sense of synchronisation between light and sound, and the fractured beat & loop-oriented set could have come straight from a club. There's potential here for subtler things, though, and the artists plan to spend time developing the performance side of the work as the piece tours.

Reviewed by Alistair MacDonald