News from the Sonic Arts Network

People Like Us
DVD Launch Party
Thursday 20 October 2005, Everyman Cinema Club, Hampstead, London

Sonic Arts Network and Lux in association with Lumin present the launch of the People Like Us DVD – 'Story Without End'. The event will be held at the beautiful and luxurious Everyman Cinema Club in Hampstead and will feature a live AV performance by People Like Us plus film screenings and a DJ set by Rough Trade’s Simon Russell.

Since 1992 People Like Us has been making CDs, radio and AV, animating and recontextualising found footage to create collages with a dark, witty and surrealistic view of popular culture. People Like Us also produces an ongoing weekly experimental arts radio show on the freeform New York radio station WFMU, called ‘DO or DIY’.

'Story Without End' is the most recent film from People Like Us. Commissioned by Sonic Arts Network, the film uses footage from the Prelinger Archives and AV Geeks. It addresses the ever changing technologies of the 20th Century; the hopes and aspirations of these innovations being the same hopes and aspirations we hold today.

The 'Story Without End' DVD features a collection of films by People Like Us and will be available at a special launch price at the event.

TIME: 20.00 – 23.00
DATE: Thursday 20 October 2020
VENUE: Everyman Cinema Club, Hampstead
TRAVEL INFORMATION: Tube – Hampstead; BR – Hampstead Heath; Bus – 46, 268 & 250; Parking - Free parking on pay and display after 18.00

Tickets now available online from:

The Connectors
Thank you to all those who attended and took part in The Connectors

We have received excellent feedback from the international AV festival we presented, along with Watershed, in Bristol last week.  Over the week Brian O’Reilly, Yasser Rashid and Jo Hyde led software courses and Andreas Schlegel, Kurt Ralske and Brian O’Reilly revealed insights into their work and practice during their masterclasses.

Saturday saw some of the world’s leading AV practitioners play a sold out gig at the Cube Microplex in Bristol. The night represented the full spectrum of current AV practice, moving from skull-vibrating noise through to beautiful sound/image juxtaposition and into club-like AV pieces. The festival was rounded off with a day of artist curated films including pieces by Oskar Fischinger, Alex Rutterford, Shynola, Scott Barlett, Ed Emshwiller and Scott Arford.

And Finally..

A new feature for Diffusion. A place for those bits of information we can't fit in anywhere else:

The BBC has opened its archives to downloaders, mixers and artists. The Creative Archive Licence (CAL) is a project led by BBC, the BFI, Channel 4 and the Open University to make their content available for download. CAL allows UK users to view, download and edit video, audio and image for non-commercial purposes under the terms of a single, shared user agreement.


Until 31 September
Sound Out
Exhibition Of Outdoor Sound Art For Cork2005
Various, Cork
An exhibition of outdoor sound art for Cork2005 curated by Danny McCarthy and David Toop. Featuring Christina Kubisch, Robin Rimbaud aka Scanner, Max Eastley and Akio Suzuki. Christina Kubisch’s work, sited on a tree at the Cork Vision Centre will be solar powered and based on the famous Cork story of the battle of the birds and Akio Suzuki has created a sonic trail with listening points all over the city ranging from the Western Road to the City’s quays.

23 September
Park Sounds
(live performance)
Serpentine Gallery Pavilion, London

Paul Panhuysen and Steven Roden will use the Pavilion as an instrument. Since 1982  Panhuysen has been performing his internationally renowned Long String works, pieces that use the architecture of the performance venue. For this event he will string-up and play the Pavilion as an instrument. Roden  uses a range of media and methods, electronically adapting objects, spaces, and field recordings to create new sound. He will use material gathered from the Pavilion as the basis of this performance.

24 September
Decoy, Birmingam

The performance is transmitted to over one hundred second hand radios of different ages and design, ranging from modern to retro, resulting in differing degrees of tone, EQ, warmth and volume, creating a new listening experience. Audience members are invited to participate by bringing there own portable radios, engaging with the sound, and moving around the venue. Hearing a wide variety of radio transmissions should alter the whole listening experience.

7 October
Pat Thomas, Julian Faultless
(live performance)
Holywell Music Room, Oxford

Night of improvisation, dance and performance, including Julian Faultless playing Stockhausen’s ‘In Freundshaft’.

12 October
Charterhouse Bar, London EC1

The experimental audio club is back in action
presenting a selection of oddbeats, soundscapes & eclectic sounds.  This month features Jamka, Strcprstskrskrk, WANG INC and Xela.

14 & 15 October
UK MicroFest 1 ~ Wild Dog 1
Riverhouse, Walton-on-Thames

After having been victim in March to Westminster City Council’s banning order at St. Cyprian’s, UK MicroFest 1 incorporating Wild Dog 1 is back. UK MicroFest 1 explores the depth and diversity of microtonal practice in the UK.

14-16 October
Instal 05
The Arches, Glasgow

This year Instal is a 3 day venture, with 16 performances on 2 stages, workshops and a fringe of events around the city.  The list speaks for itself; Sun City Girls, Pauline Oliveros + David Dove, Loren Mazzacane Connors + Alan Licht, Hijokaidan, Jandek, Tom Bruno, Chie Mukai, Henri Chopin, Black Boned Angel, UP-TIGHT, Tetuzi Akiyama, Birchville Cat Motel
directing hand, Rauhan Orkesteri, Ingar Zach + Rhodri Davies and JOJO.

20 October
People Like Us DVD Launch Party
(live performance + screenings)
Everyman Cinema, Hampstead, London

Launch Party for People Like Us DVD, Story Without End.  Presented by Sonic Arts Network and Lux, the party features a live performance by PLU and a DJ set by Rough Trade’s Simon Russell plus film screenings.  A limited number of tickets are available form the SAN site.



This course allows musicians to explore ways of working together to make live electroacoustic music. Working in small groups, the course participants create various systems in which live improvisation can take place. Issues such as gesture mapping, group control, sound spatialisation and instrument/ interface design are explored.

The course uses a base of specialised Max/Msp programs, and an assortment of interfaces which can be customised during  the course. Interfaces  include the Icube, a blackboard sized touch sensitive screen,  game controllers, keyboard, video. Hardware consists of 2 Macintosh laptops networked together using OSC and 4 loudspeakers.

There is discussion of, and listening to, other branches of sonic art - including  Soundscape and Acousmatic - with consideration of how these relate to live music.

Although this course is not specifically about Max/Msp programming, it offers a basic introduction to its use. (An intensive course is planed in the Summer term).

The course takes place at the Mary Ward centre, a beautiful old building near Kings Cross in London, with an excellent Cafe. It occurs on 6 Saturdays (1 October - 12 November) from 2pm till 5 pm. It costs £59 or £15 concs.

Booking can be made through the Mary Ward Centre:

The Mary Ward Centre
42 Queen Square
London WC1N 3AQ

020 7269 6000

For further information about the course contact Thomas Gardner


We are looking for musicians who could volunteer for our calliope projects. 

A veteran steam engineer in Brooklyn has created a calliope or “steam organ”, which locals come to play on every New Year’s Eve to celebrate the coming of the year. Along with his collection of steam whistles, this instrument is run by steam, generated from DC generators (the oldest of its kind in the Northeast U.S.) especially for this event. The sound would be heard from miles away, and vibrate your whole body as you stand near.

Last year, we designed a series of circuit boards enabling this long-forgotten 19 century instrument to play prerecorded MIDI files downloaded from Internet. As we successfully put this new and old technology together, we found that we need to make some adjustments / customizations on MIDI files for the instrument. 

The problem is we know nothing about music – and we need your help. We have some music in MIDI format that we need to have transposed so it can be made to run through the calliope and all the notes can be heard. We also have sheet music from the 19th century that we are looking for someone to play. The performance would be recorded and played back via MIDI at future events. This is an excellent opportunity for someone to really sink their technical know how and artistic merit into a project.

If you are interested or know someone knowledgeable in this field, please contact us. Although the event itself is on the New Years’ Eve, we would love to have someone come over as soon as possible.

Frank Sokolow
Makiko Nukaga


Futuresonic 2006
Venues across Manchester
July, 2006

Independence - the '10 Years of Futuresonic' theme

Celebrating collaborative cultures and independence movements - from independent labels to peer-to-peer culture, from free parties to free networks, from locative media to local food

The Futuresonic 2006 festival will explore the theme of Independence, looking at collaborative cultures and independence movements in art, technology and culture. Futuresonic was formed 10 years ago at a time when there was a emergent musical and digital culture that was outside the mainstream, collaborative and peer-to-peer. Today a centre of gravity has shifted towards the world of hackers, bloggers, free networks, open source, social software and civic technologies. What has remained constant has been the emphasis on social autonomy and independence of creative practice. Futuresonic 2006 will explore the state of independence today, and showcase independent music, arts and technologies that are open, emergent, collaborative and ad-hoc.

If you wish to propose a project the deadline for initial expressions of interest is Wednesday 5 October 2005. Download guidelines and submission form from

Futuresonic 2006 will also host the final exhibition and conference of PLAN - The Pervasive and Locative Arts Network. For submission details & updates please visit

Call for Works


The SOUNDS ELECTRIC '05 festival has programmed two concerts of electroacoustic music, for which it would like to invite composers of any nationality to send in electroacoustic music pieces in two basic categories:

1) Pieces using Csound, either as CD recordings (preferred) or as orchestras/scores.
2) Electroacoustic ('tape') pieces of any description, using any other production means.

The following guidelines apply to both categories:
* Pieces should, preferably, last not more than 10 mins.
* All pieces should be presented in stereo (2-track).
* Submissions should be accompanied by a brief programme note and biographic details of the composer.
* All copyright on submitted works must be owned by the composer.

A panel will select the submitted entries to be performed in two concerts representing each category during the SOUNDS ELECTRIC '05 festival. All submitted CDs will be kept as part of the NUI Dept. of Music CD library and will not be returned.

Please send works to EAR at the address below to arrive no later than 4 November 2005. Notification of selected works 14 November 2005:

EAR -Sounds Electric '05
c/o David Stalling
3 Radcliffe
Binn Eadair View
Dublin 13


Composers and researchers in the area of Computer Music are invited to propose papers for presentation on sessions dedicated to the Csound language. Any proposals relating to uses of the system are welcome. Suggested topics include:

 * Electroacoustic Composition
 * Algorithmic Music
 * Csound as a research tool
 * Synthesis and processing techniques
 * Instrument development
 * Programming opcodes and user-defined opcodes
 * The Csound host API and its uses, embedding Csound
 * Front-ends and helper applications
 * Graphical application development with Csound and FLTK opcodes

Presentations will be limited to 20 mins. Extended abstract-only (1000 word max) submissions should be sent electronically to, either in PDF or MS Word format.

Deadline: 28 October 2020
Notification: 04 November 2020

Call for Papers
LMJ 16
Noises Off -- Sound Beyond Music

Cellphone ringtones generated four billion dollars in sales worldwide in 2004.  Incoming email and outgoing popcorn announce themselves with plops and gongs and boops and beeps -- the emerging field of "sonification" addresses this proliferation of all these "earcons" and other representational uses of sound.  Sound design is a vital part of Hollywood films and computer games.  While CD sales shrink with the proliferation of peer-to-peer file exchange, the creative use of sound is expanding in almost every other part of our lives.

For the next issue of Leonardo Music Journal invites papers on the expanded role of sound in art, science, business and everyday life.  Topics could include (but are not limited to): audio art, radio art, phonography; sound design for video, film, and gaming; the role of sound in performance art, theatre, dance; sonificitation; architectural acoustics; instrument design.

15 October 2005: Rough proposals, queries
1 January  2006: Submission of finished article
Address inquiries to Nicolas Collins, Editor-in-Chief, at: <>. Finished articles should be sent to the LMJ Editorial Office at <>.
Editorial guidelines and information for authors can be found at: <>. Note: LMJ is a peer-reviewed journal. All manuscripts are reviewed by LMJ editors, editorial board members and/or members of the LMJ community prior to acceptance.

Call for Female Sonic Artist

Creative Room (Nottingham City Council Youth Service) is seeking a female sonic-artist to co-deliver our exciting Youth Music funded project 'girl emPOWER'. (October 2005 - March 2006)

Co-working with Becky Smith (music producer and musician), this opportunity will be to deliver workshops specifically tailored for young females (15 -18yrs) across Nottingham City, engaging them in sound capturing/manipulation, music production, installation and showcasing events (linking in with 4 community studios in the City and other national projects).

Fee:  £150 per day or £75 per session + planning and evaluation fees

This post requires lots of evening and holiday work - so flexibility and
commitment is essential.

Please call as soon as possible, as the position needs to be filled immediately.

For further information please call Trish or Andy @ Creative Room on 0115 9158648 or 07745 462045

Call For Work


Combining mobile technology and music promises exciting future developments in a rapidly emerging field. Devices such as mobile phones, walkmans and iPods have already brought music to the ever-changing social and geographic locations of their users and reshaped their experience of the urban landscape. With new properties such as ad hoc networking, Internet connection, and context-awareness, mobile music technology offers countless new artistic, commercial and socio-cultural opportunities for music creation, listening and sharing. How can we push forward the already successful combination of music and mobile technology? What new forms of interaction with music lie ahead, as locative media and music use merge into new forms of everyday experiences?

Following two successful workshops that started to explore and establish the emerging field of mobile music technology, this third edition offers a unique opportunity to participate in the development of mobile music and hands-on experience of the latest cutting-edge technology. The programme will consist of presentations from invited speakers, in-depth discussions about the crucial issues of mobile music technology, hands-on group activities and break-out sessions where participants can get valuable feedback on their work-in progress projects. The invited speakers include Michael Bull (University of Sussex, UK), often dubbed by the press as ‘Professor iPod’ for his iPod and car stereo user studies that reveal fascinating trends for mobile music.

The workshop will take place at the University of Sussex in Brighton, UK. Brighton is situated on the British ‘Sunshine Coast’ and easily accessible: only 30 minutes from London/Gatwick airport and 60 minutes from central London.

Don't miss this chance to help shape the mobile music landscape of the future!

For information about the previous workshops, go to:
Webpage of the 1rst workshop in 2004
Webpage of the 2nd workshop in 2005

Call for Participants

We invite practitioners, artists, designers and researchers from all areas, including music, technology development, new media, sound-art, music distribution, locative media and industry to register for this international mobile music workshop.


Are you working on a mobile music project and looking for feedback from like-minded people to help you to move on with your ideas?

We invite submissions of work-in-progress projects exploring the topic of mobile music. Projects will be discussed, receive critical review as well as support with ongoing problems and issues. Your work should not be completed yet, but either be on-going or just about to get started. Potential projects could include but are not limited to mobile music systems or enabling technologies, interface design, on-going or planned user studies, ethnographic fieldwork, art pieces and other areas relevant to mobile music.

Submissions should include a presentation of the project, explain its relevance to the field of mobile music and describe issues and problems that could be discussed during the workshop. Please include a short biography with the submission. Accepted project authors will be given time to present and discuss their work and will receive feedback by smaller groups of workshop participants including specialists in the field. Authors are encouraged to bring material and prototypes to the workshop.

Submission format: one page in ACM SIGCHI publications format
Submission deadline: 28th November 2005
Notification of acceptance: 15th December 2005


In addition to the presentations, discussions and project feedback sessions the workshop will also offer hands on group activities to explore technological platforms.

We are looking for mobile platforms, systems, installations, applications or devices that include music features or can be used for musical projects. The workshop participants will get hands-on experience with these platforms, so they should be suitable for groups of at least 8 people. This provides you with the opportunity to introduce your platform to experts and practitioners in the field of mobile music and to gain valuable feedback. We invite you to submit a platform description, explain how it can be used for mobile music and how larger groups can use it during the workshop.

Submission format: one page in ACM SIGCHI publications format
Submission deadline: 31st October 2005
Notification of acceptance: 14th November 2005


Please send your platform or project submission as a PDF file, to all three,, and In the subject line, state MOBILE MUSIC WORKSHOP SUBMISSION followed by PROJECTS or PLATFORM and the name of the main author.


The number of participants is limited to 25 places. Accepted submitters are given priority, other participants are accepted on a first-come first-served basis.

Regular fee: 70 Euros (47 GBP)
Reduced student fee: 45 Euros (30 GBP)
Registration deadline: 17th January 2006


How to get to the University of Sussex:

Where to stay in Brighton:

Information about Brighton and surrounding area:


The 3rd international workshop on mobile music technology is organised by the Department of Media and Film Studies, University of Sussex (UK), the Future Applications Lab, Viktoria Institute (SWE) and Adelphi Research Institute, University of Salford (UK).
In collaboration with PLAN (Pervasive and Locative Arts Network) and Futuresonic.

Contacts: Frauke Behrendt (University of Sussex):
Lalya Gaye (Viktoria Institute):
Drew Hemment (University of Salford, PLAN and Futuresonic):

Call for Abstracts
Sound Installation and Situated Sonic Practices

International Cross-Disciplinary Conference
soundaXis and Ryerson University
Toronto, Ontario
June 8-10 2006

Ryerson University in Toronto and soundaXis are co-ordinating a 3-day, interdisciplinary conference on Architecture/ Music/ Acoustics in June 2006. I am organizing a session on Sound Installation and Situated Sonic Practices (please see description below). I'd like to invite anyone interested in participating to submit an abstract for a paper to be considered for inclusion in the session. Abstracts can be up to 300 words in length and are due by October 31st, 2005.

Gascia Ouzounian
Critical Studies/Experimental Practices area
Faculty of Music
University of California, San Diego

SESSION DESCRIPTION: Sound Installation and Situated Sonic Practices

Sound installation is an art form in which properties of space, and of place, are explored through an interface with sound objects. An interdisciplinary genre that draws on music, visual arts, and media-arts traditions, sound installations may include interactive or performance-based elements and may be networked across multiple and hybrid (real, virtual, and imagined) spaces and times. In contrast to traditional music practices that emphasize temporal aspects of sound, sound installations highlight the relationship of sound to spatialized forms, whether these are architectural forms, social forms, imaginary spaces, or otherwise.

In this session, we will explore works by sound installation artists,  developing new models for theorizing sonic-spatial practices. This will include a general field of situated sonic practices, which puts into focus space - and place-based aspects of sonic experience. Space is considered here as the multiple and hybrid physical, social, political, and/or historical settings of cultural production, while place is imagined as the relationships between elements in a network at a given moment. Situated sonic practices take into consideration not only aspects of the built environment, architectures, and social spaces, but also the temporal
dimension of space as expressed through memory and history. They may engage contested modes of knowledge such as the experience of sound and other embodied objectivities.

Please e-mail 300-word abstracts by 31 October 2020

Please send questions about this session to:
Gascia Ouzounian, Session Chair:

For more information about the conference, please visit: